ra eit eee 
aly, Seton 
Se 


A be ia 
va tene 


is Ramla tare 
See ear es 

2 Ne 

ee 


2 Saison eke or se 
: ‘ 3 Ff 


ont 


Nee t aly me Poke 
£ ial 


eigen eeere es gun 
moh. teh 
eee 
canter 


Newey 


88 
834 
1 


~ 
ee 
‘°) 
O 
\°) 
2 
°o 
<= 
ao 


anxa 
C. 


é 


@ 
bs 
, 
< 
4 
be 
Ae 


VIACHINE 
-XPOS 1; 
AY — 


119 WEST 57th STREET 


Special Design No. 257 


HE high quality and finish of Cast Ferro- 
craft, as compared with other metals, and 
the ability of our craftsmen to execute the 
most exacting requirements, have won wide 
recognition in the Architectural field. 


The Villa 


UTTLE & BAILEY all-metal Ra 
diator Cabinets are the ultimate in 
design, construction and finish. Selec- 
tion of models in finishes to match in- 
terior. Full particulars upon request. 


Let us submit details of the Ferrocraft Line 
for all heating and ventilating purposes; or 
send us specifications of your special needs. 


TUTTLE & BAILEY MBG. CO. 


Makers of Registers and Grilles for Fighty-one Years 


441 LEXINGTON AVENUE NEW OY ORK CITY 


} 
——! 


PROVINCETOWN PLAYHOUSE 


Ho tb Ss. 
kb 
= 


a 
= v3 
‘ “THE PLAYWRIGHTS THEATRE 
4 
ca “ADVENTUROUS” 
ae : 
“48 “COURAGEOUS” 
- RRS SE SERS RT 
cb bo 
ae: “EX PERIMENTAL” 
n SEE 
a 
8 HHERE—Eugene O’Neill’s “Emperor Jones” and “Hairy Ape” were first produced 
o” ff HERE—Hasenclever’s “Beyond” and Strindberg’s “Dream Play” were given for 
z“ § first time in America 
“se HERE—“‘Fashion”’ and ‘‘Patience’”’? were revived 
4 HERE—“'In Abraham’s Bosom” by Paul Green, won the Pulitzer Prize 
on 
a SUBSCRIPTION SEASON 1927-28 FIVE PLAYS $11.00 


ro 


2 rm g a.% f “ i 
3 > 
Pieces & 27 ™ 
‘2A TAIT STROw yas 
ee 6 Me ORE APRS ARI ERS Ot 
a 
= 2uOnU TMS vane 
i AA SE SSIES AIT 
‘eZ ii Oompa uoOo. aro 
Be AT ita TR | 
JATHA MBER 
PRUE ST eT a ae * 
nn su art F aay? rites a HAG , no ret, solve?” Mie 
im by 
mn? ris Ww wid tl & ai” Fi ee baw Sheol z 


eS, co“ 


' ' * . ts 
7 , ; = 
} 4 % & 
E +, By. 
“ 
: ¥ 
t 
+ 
p < 


cat) “ae 


inns ee 


Cin ihor 


. beriee. ae 


As 


eit sagt’ oda gow alee? wan d 
WA QS-T82 


ae a 


a > 
ae 
war 
? 
eng 
wow. 
Gs, 4 


ORGANIZED BY 


LITTLE REVIEW, NEW YORK 
JANE HEAP 


v v 
SOCIETE DES URBANISTES, BRUS- 
SELS 


LOUIS VAN DER SWAELMEN 
M. GASPARD 


WSS Ry SOCIERMYVLOR CULTURAL 
RELATIONS WITH FOREIGN COUN- 
TRIES 


AMERICA BRANCH 


KUNSTGEWERBESCHULE, 
VIENNA 


PROF. JOSEF FRANK 


CZLONKOWIE GROUP “PRAESENS"”, 
WARSAW 


SZYMON SYRKUS 


ARCHITECTS D. P. L. G., PARIS 
ANDRE LURCAT 


ADVISORY AMERICAN SECTION 
HUGH FERRISS 


119 WEST 57th STREET 
MEGAN Y OR Kao 2 7 ae 


PRICE 
50 CENTS 


i ‘ 
“4 
° G : 
¥ '? « 
WIA 


we “4 4tin~ Qi we) Siwonsies 


SIVAS 2 1 4 DB &TIS ie? ~ 


AGT OW’ WACIRMA Yrogives 
SP ARPD Wr 


S01nS 
eTUNsa3 OG 


EXPOSITION 
COMMITTEES 


HONORARY COMMITTEE 


Robert Adamson 

M. H. Aylesworth 
Richard F. Bach 
Frank Bailey 

George Gordon Battle 
David Belais 

L. J. Belnap | 
Dr. Louis Berman 
Alexander M. Bing 
Leo. S. Bing 

Hon. Sol Bloom 
Francis Blossom 

Dr. Christian Brinton 
Mrs. Louise Upton Brumbach 
Alexander Chatin 
Robert Catts 

S. H. Church 

Hon. W. W. Cohen 
Harvey Wiley Corbett 
Auguste ]. Cordier 
John O'Hara Cosgrave 
Mts. H. H. Dey 

Tohn V. N. Dow 
Valentine Dudensing 
Howard Elliot 

Robert Erskine Ely 
Colin G. Fink 

John H. Finley 
Donald S. Friede 

Eva Gautier 

Dr? W mePatl Gerard’ C: E: 
Bernard F. Gimble 

Dr. A. A. Hamerschlag 


George S. Hellman 
Harry Arthur Hopf 
Mrs. Axel Olaf Iseling 
L. J. Lippman 

Henry Goddard Leach 
Lucius N. Littauer 
Mrs. Sidney Lowenthal 
L. C. Marburg 
Wm. Me Clellan 

John L. Merrill 

David Metzger 

Col. Robert H. Montgomery 
Ralph Modjeski 

Samuel Mundheim 

Dr. Eugene A. Noble. 

R. H. Stratton 

A. R. Orage 

James W. Osborne 

Hee Pease 

George H. Pegram 

Michael I. Pupin 

Wary Read 

Felix Riesenberg 

George Sarton 

Jefferson Seligman 

Henry Blackman Sell 
Howard Hilton Spellman 
James Speyer 

Mrs. Francis B. Thurber, Jr. 
Nelson M. Way 

Harry Weinberger 

Louis Wiley 

Mrs. Rose Wheeler 


& 
? 
4 


"hese ake on 7." = 3 . a 
I2TTIMMOD YRAROMOM 


none ist 


i i 
i) ‘ ‘ y 
i ) a 

rk, j 
7 ~ A 
75 


vague yin — i ie 


testi da! Pa) 


i hhes, yeas Vip hs EAS 
‘MASdELA arsivd 2: 
| no HA 
v1 4 yi A 
pend a oA 
. , 


i} roa ef _ Ai es td 


oy yee notnel bya e'aee ai 


| hod? sect 2 
We a A oe kot 


es 


ARTISTS COMMITTEE 


Alexander Archipenko André Lurcat 

Robert Chanler Elie Nadleman 
Andrew Dasberg Man Ray 

Charles Demuth Boardman Robinson 
Muriel Draper Charles Sheeler 
Marcel Duchamp Ralph Steiner 

Prof. Josef Frank I. Syrkus 

Hugh Ferriss L. Van der Swallmen 


Louis Lozowick 


AMERICA 


ALFRED BOSSOM, NEW YORK 
1 Project for 35 Story Office Building. 


BUCHMAN & KAHN, NEWLYORK 


2 The Insurance Center Building, N. W. 
Cor. 37th and 6th Avenue. 


3 Park Avenue Building. 


LEONARD COX, NEW YORK 


4 Imaginary Project for Skyscraper to cover 
4 city blocks. 


5 Design for Soldiers and Sailors Memorial. 


HUGH FERRISS, NEW YORK 


6 Sketch Model of Glass Skyscraper. 
J. H. Sullivan, associated Architect. 


7 Studies. 


ARTHUR LOOMIS HARMON, NEW YORK 


8 Model of the Jerusalem Y.M.C.A. 
9 Photograph of the Hotel Shelton. 
10 Photographs interior Hotel Shelton. 


HELMLE & CORBETT, NEW YORK 


11 Pennsylvania Power and Light Building. 
12. Number One Fifth Avenue. 


RADIATOR BUILDING 
Raymond M. Hood 


don 


qeennajonicd bse 


doe 3 fab! 


ad at 


3 
Sa. , 
nz 
aie 
: paki a + ; : 
Mn ae a 2 ts : : ig> . » 
S ae : 5 


\y Tae . " AON: 


“agate mat! 


w A (gt: Si? okt 48 nee a 
ser A 


aoe ane #2 
Roauk ese 


omnes OTA GAR 
Ae Ses 


Seeniieaieanammmr meee 


SERRA 


PS SRR a yetne a 


Seg oes on teeny ttre 


3 
YR 


mes 


PROJECT FOR GLASS SKYSCRAPER 


By Hugh Ferriss 


FOREWORD 


ARCHITECTURE OF THIS AGE 


ED by obscure springs, there arose in 
Greece and Rome the mighty Current of 


thought and instinct which has swept 
through the subsequent ages. Could one survey 
this channel, this Grand Canyon, he might mark 
how the Stream, cleaving Earth, has sculpted 
and left aloft the stratas of succeeding civiliza- 
tions and cultures. 


We may examine this architectural record. 
We may see standing—where the stream once 
was—the exposed strata of the Romanesque; we 
may note transitions to the Gothic and to the 
Renaissance. 


America overlooked this Grand Canyon. A 
few decades ago, there appeared a movement in 
Architecture which has been described as a 
mcdern Renaissance. It consisted of this: a 
unique progress had enabled us to attain a bird's 
eye view of the Past such as had never before 
existed. We were free to choose. Our archi 
tecta, with the visa of scholarly honor and good 
taste, swarmed and selected. 


Now the question is being asked: Is there not 
proceeding at this moment a truly unique move- 
ment in the Arts? 


If one seriously asks himself this question, he 
may be at first halted by the many affectations 
of “Modern Art”: Architect X is obviously 
practicing professionally simply because this 
architect wants to do something “new”; artist Y 
is painting simply in order to paint artist Y. 
Does there really exist in the world, at the given 
moment, any artistic endeavor founded more 
deeply than in mere personality? 


It is a legal fact that in 1918 a regulation was 
passed in New York City which altered the 
forms of buildings. This law was passed for 
certain utilitarian and quite impersonal reasons: 
to conserve property values. to check trafhe con- 
gestion, to admit light and air to streets. But 
this law had a profound effect upon architectural 
design. Cubes became pyramids. Previously, 
cube-like masses had been juxtaposed along our 
avenues in such fashion that but one side of the 


5 


+d mbe ea A ee ns 


MVATTS UTE eX ; 


Woon io®F 


- 


| Bate ot ott in 4 
. MS 36 gaiberaoesg 


teh: ate She DEAT 


(lenis com ane tt 
- bihice d 


is of ah “tt 


a ow 


1 Pegs bone” 
whee ie wits mur eet ge 
wan” enitiocmt of Gt Saw Ree 
so) Wiener Aine a 
<nfe ayy vilio® Sigelg bet 
NDS tp a Reno 
Hivtpeey ay rei gett 
; ont teed a at 3] 
} rt a ‘ ‘| rit i ytiees te 
Ws Cita If PTR 
x its: Cute. 2c PMsee 
77 Wietipy ed 
Un Gis NiNT RoR Olle? 
bi 68 I. Papny verb’ (ej 52, es AAT 
at Sas AOR) san 
yr ; 


‘ Pie va > 2 
“id Jaa wach 


: + 
‘ os 


ra ates 47) 


{Da eInT 3 mauTos Tig | 


“Cir Beata 


‘itn aA). sede 


#2 3 i ye i ae. 
ie Mavend ti Ayia. atts - 
Boye. cn slaw nec i 
THe giypo Wad . 
20 tiie od ork el 
Meylis ind _.jred- gale hg 


pained bes Tye ee ob ae iw) #ag t 


Bos 


eco lnwiowivine alt 

RH [dss pts ea 4 = 
a an sain dH wi 
ati) 0 oth rears: a cal owt bf 


A rangi baat} Pen ponkng? 
sf Feevnyiteger i pews onda 

ac lads wee eek ts es 

b sand We Sonia. cet 

« Tapa t rpterse 84 oa teligieny b 

aten vivo tund ee, porary oe 
id a aw 3 

Ky tw emir’ pcos do ely af 


ae ere ig 


mass was exposed. Civic architecture became— 
and has for long been—a problem of designing 
one side of a box. Architecture was two-di- 
mensional. Fifth Avenue isa series of stage sets. 
But pyramids, however juxtaposed, cannot lose 
identity, location, form, axis and summit. The 
innovation of the pyramidike form produced, 
in the contemporary architectural mind, a sit- 
uation. 


Many architects proceeded to handle the new 
form as they had been wont to handle the old. 
They built the familiar pile of Base, Shaft and 
Capital as high as they, by law, could; they then 
“stepped back” the structure and built up an- 
other form of the same parts—and so on, until 
they had filled the theoretical pyramid with as 
many classic cubes as possible. 


But at the same time, quite different tenden- 
cies appeared: Corbett’s Bush building, Har- 
mon’s Shelton Hotel, Hood’s Radiator building, 
Saarinen’s Tribune tower. As these giant struc- 
tures march with deliberate stride into American 
cities, it becomes apparent that we are facing 
a new architectural race. 


May we find, in this age of the Machine, 
tendencies which are more than local to Amer- 
ica? The fact is that exhibits are appearing 
from all parts of the world which unanimously 
assault a certain accepted convention of Beauty. 
What has been the criterion for this conven- 
tional Beauty? Has it not been simply Pleasure- 
Pain? Familiarity? Habit? It has been a con- 
vention which has called the matured human 
form—as sculpted by the Greeks—beautiful. 
But the potential human form—as sculpted, be- 
fore birth, by Nature—it would call ugly. 


It becomes apparent that if we are prepared to 
leave the pleasant security of forms already ma- 
tured by others—if we are willing to expose our- 
selves to a travail of our own—in this event, we 
will find that Creation demands of us a dedica- 
tion from which we must be relinquished by 
Culture. 


It is possible that the very stream which 
hewed the architectural Grand Canyon is itself 
about to expire. It is possible that we must 
look elsewhere. It is possible that another 
stream is already beginning to flow. 


HUGH FERRISS 


CHARLES HIGGINS, NEW YORK 


13 Coal-Pockets, 19th Street and East River. 


RAYMOND M. HOOD, NEW YORK 


14 American Radiator Building (Model show- 
three stages in development). 

15 Model: Solution for New York Street 
Traffic. 


16 Studies: Solution for New York Street 
Traffic. 


KNUD LONBERG-HOLM, DETROIT 


17-21 Design for Radio Broadcasting Station 
(Steel, concrete and glass). 


WILLIAM E. LESCAZE, NEW YORK 


22. Soldiers and Sailors Memorial. 


wT) BS 


5 
6 Interior Modern Living Room. 
7 Interior Modern Apartment. 


HENRY KILLAM MURPHY, NEW YORK 


28 Barkentine ““Bucceneer.” 


McKENZIE, VOORHEES & GMELIN, 
NEW YORK 


29-31 Photgraphs of New York Telephone 
Building. 


ANTONIN RAYMOND, TOKIO, JAPAN 


32 Photographs. 


REBORI, WENTWORTH, DEWEY & 
McCORMICK, CHICAGO 
3. Midland Club. 


Q 

a 

34. Roanoke Tower. 

33 Randolph and Michigan Tower. 


ELIEL SAARINEN, BIRMINGHAM, MICH. 


36 Design for Chicago Tribune Building. 
37 Christian Science Church, Minneapolis. 
38 Christian Science Church, Minneapolis, 
Interior. 
39-40 Railway Station—Helsingfors, Finland. 


J. BECHINING VINCHERS, NEW YORK 
laste boas vat Dattani attoctine ia) EH thd ha 
41-51 Designs for a Technical School. 


PRR 


be | _. R oh eee 


iNO¥ win ,© MAT tb ig S4RRHO mM if yiednas tote ¢ svi) a 
i ea s. qrties gral 9 nny: ded y 
pA ee: bo Se | tbo eee sro 2 & 
: ato sunita Ke etre. & & at gure A th ms 
i ‘wan ¢ eh OVIONMVAR Saar mi. pt Pat eat] Twa 
ieee aes ' a a oAdT sithms tet date Gro! Oe 
ob) gelled snare? | pesteiie miot iter o me 
: “fe 6 jlnker fnqaaditis Sa i 


7 ; mH ‘eee Ay uPeeied ot Us £6 souumy.e m% 
bas oe — grove md bee 


ers ee alte step veal 
WHO uMin Wey ae bh Tet ican? ¥ d oyna 
rs is qi fen Bare 2 QW S8 | 
hseyiy pice the Reig + oh 185 S i 
x ie Deter Tes ONmRy 
video 0m 
4 ; +3 LA 


cvaigeatee Hani sit 
f 48 cM "sani ath. ¢ 2e% 
whfied aesibeAl book d a 


Nerd 
ia 


7 | rine orci, meth, 
eer ob sere ster 


a 


‘joki sie wwe tS Were 


oc 
vs. a) 


SISVENOIN alisha dd To. age 
Arey: War es Wer — nae | 
Cee oe gnetiania = paper Pes 
aaron couder bh | 
Praia, 2 at reatae 7 as yg 
con “i ged? a Rader 
© nOn yivOTMa “ge far aad 36 
| slp) Etat: A and at 

i headars ed 
x) abe a 


Eee 
uouthys TAMaPHOSE .! 


L. 
O 
z 
0 
oc 
Lid 
= 
or 
O 
Lu 
o 
fk 
ot 
lu 
oc 
= 
- 
O 
uu 
a 
a 
O 
va 
= 4 


THE JUDGMENT, AND 


THE SERIOUSNESS OF A NATION 


THE INTEGRITY, 


—RENAN 


IE aR 


mo bene se Sa he a 
“BES BS =e 


ichman & Kahn, Cor. 


37th and 6th Avenue 


+ 
“ 


INSURANCE CENTRE BUILDING 


By B 


gh Ferriss 


MASSES 
By Hu 


3O KOM AeRS 


' 
x ' 
i 
| > 
s 
# 
* 
a i; 
“ "¢ 
7 
be 


VA, 


~ 


4> 


At UT ISF | 1+, MM 
2H YF. 
‘Se UOloe JSHT 


Petite an 


®s 


‘SOatH 


q of 
+ 
ry 
v7 
‘ 
. F 
ary 
beans 
. > 
Vos 
y 


“4 
v é 
ts 
Mi 7 
mi s 
y 
3 
Ve Ls 
}4 


giro memes 


l= 
Zz 
< 
= | 
a 
=) 
< 
1) 
ac 
- ioe) 
O 

W 

| 

WwW 


= 
S 
S 
= 
2S 
a) 
eo} 


A ig 


THE AESTHETIC OF THE MACHINE AND 
MECHANICAL INTROSPECTION IN ART 


N THE aesthetic phenomenon of the evo 

lution of the plastic arts the necessity, of 

considering the Machine and Mechanical 
elements as new symbols of aesthetic inspira- 
tion, has not been sufficiently taken into 
account. 


PRECURSORS 


We Futurists were the first to understand 
the marvellous mystery of inspiration which ma- 
chines possess with their own mechanical world. 


In fact, Marinetti in his first Manifesto on 
the Foundation of Futurism published in the 
Figaro in 1909 stated: “We shall chant the 
vibrant nocturnal fervour of the arsenals and 
ship-yards lit by their violent electric moons, 
the bridges like giant gymnasts striding the 
rivers, the daring steamers that nose the hori- 
zons, the full-breasted locomotives that prance 
on the rails like enormous iron horses bridled 
with tubes, the gliding flight of the aeroplanes 
whose screw flutters in the wind like a flag or 
seems to applaud like an enthusiastic mob. The 
racing automobile with its explosive breath and 
its great serpentlike tubes crawling over the 
bonnet-—an automobile that whizzes like a vol- 
ley from a machine gun is more beautiful than 
the victory of Samothrace.” 


From the appearance of the first Futurist 
Manifesto of Marinetti up until today, there 
has been a ceaseless searching and questioning 
in the field of art. Boccioni in his book, Futur- 
ist Sculpture and Painting (1914) stated that 
the era of the great mechanical individualities 
has begun; that all the rest is paleontology. 
Luigi Russolo (in 1913) with his invention of 
the noisemakers constructed new mechanical 
instruments to give value to new musical sounds 
inspired by noise, while Luciano Folgore in his 
poem the Chant of the Motors (1914) exalted 
the mechanical beauty of workshops and the 
overpowering lyricism of machines. Later, in 
my manifesto entitled Absolute Constructions 
in Motion-Noise (1915), I revealed by means 
of new plastic constructions the unknown con- 
structive virtues of the mechanical aesthetic. 


While the painter Gino Severini confirmed by 
means of an admirable theoretical essay in the 
Mercure de France (1916) the theory that “the 
process of the construction of a machine is 
analogoys to the constructive process of a work 
ot arts 


This Futurist exaltation of ours for the new 
era of the machines crossed the Italic frontier 
and awoke echoes among the Dutch, the Rus 
sian, the Germans and the Spanish. 


Fernand Léger recently declared his painting 
to be concerned with the love of those forms 
created by industry and the clash of the thou- 
sand coloured and persuasive reflections of the 
so called classical subjects. 


Guillermo de Torre, the daring Spanish poet 
and founder of the Ultraist movement, an- 
nounced in his manifesto “Vertical” in 1918 the 
forthcoming epoch of the new and mechanical 
world. 


Today we see a new tendency manifesting 
itself at the recent international Artists’ Con- 
gress of Dusseldorf. This is the movement of 
the ‘“Constructionists” as exemplified in the 
works of the Russian, Dutch, German, Scan- 
dinavian and Roumanian painters among whom 
we may note Theo Van Doesburg, Richter, 
Lissitzsky, Eggelin and Janco. The Construc- 
tionists, though they take as their starting point 
an extremely clear theory, announcing the con- 
structive exaltation of the Machine, become 
inconsistent in the application of their doctrine, 
confusing exterior form with spiritual content. 

We today—without ignoring the attempts 
that have been made in the course of the last 
years by ourselves and certain Futurist friends 
of ours—intend to reassume and synthetize all 
that which has been expressed individually and 
incidentally in order to arrive at more complete 
and more concrete results, in order to be able 
to realize more fully new aesthetic values in the 
field of the plastic arts. 


Our experience has convinced us of the truth 
of certain of our plastic truths and has allowed 
us to perceive the errors that lie in others. 


A 4 
; = 
a ‘ 
, ha 
4 
4 i” 4 
if 
wl 
4 
' i 
1 H7Ta> 
i b 
. i 
th an 
- "| Cir*srt 
ae 
cee kes 
iP 
+ 
eee G 
' + ' ‘ido 
i by i 
bSerimesn be 6 
3 ‘ > | A. 
2 +A 
‘ 
is 
‘ rt) , 
} “eee Seat I 
? : * 7 
Fein hb asain 
TEAITAS CE 
>. PRR 
t [3 ttt ATS) OF? a 
a Ln “ETT IO 
¥ MY uf maid 
4 A My 
ae ‘ “4 rd a8 = 
‘ Laclinghit be Oe tn 
, s : i 5 
romo cent aah giyialter tale 


4% Cyt aa x eyo eh 
itt; 
a teaie: 5 shi ‘Coal 


‘if egg arap | Ww bien 


att cobepen is a) 
ie a yes Hr rhe ee Po 


: 7 i a 
Wig See 


7 
= 


) ahs gPaieiteny ot ait 


ites: ee th: Teh 


ie moet Roe ep ine | 


gy ? “or, 7 14) 
| ‘ ry wt | Bal? 
i 7: 

by 5 b, 
ft ine eS bj 
Cer PL 
Kew g¥ ie { 

2.9% ee 

a7 r 

ey ar 3£,->3 


¢ 
°F Ly a 7 H ¥" 
a. AA 
es ; 
* 
de Mae a > 
- * 
7a i ry Te: 
ae 
a% a 
¢ : * 
ie a 
tig ; 
Bwiht 23 
< et 6 a3 r te 
we La a 5 ~) ur 
e. ™ a 
Pe) # we 0 
\ 
: ~ Ss 
ant T ae) 
, : f. 
Bey, rt EG: y 
Beas 
bas S -* ” 
we : lew 


mite? text odd te 
wert) veld. | i 
wha Gl » ats ie 
Bhs vee Drie neitelon 
ae 5 ee — wagl os 0 
Serie: Haw | (eran) ort 


patee sake] “4 mo gk 
fsa 


ani Taamsete ides oad 
otk: Sell rindhad oe 


er eh r “ono 


OLD AND NEW SYMBOLS 


In the history of art throughout the ages 
the symbols and elements of inspiration have 
been suggested to us by the ancient legends and 
classic myths created by modern imagination. 
Today, therefore, where can we look for more 
contingent inspiration than among the new 
symbols which are no longer the creation of 
the imagination or the fantasy—but of human 
genius? 


Is not the machine today the most exuberant 
of the mystery of human creation? Is it not 
the new mythical deity which weaves the le 
gends and histories of the contemporary human 
drama? The Machine in its practical and ma- 
terial function comes to have today in human 
concepts and thoughts the significance of an 
ideal and spiritual inspiration. 


The artist can only pin his faith to the reali- 
ties contingent on his own life or to those ele- 
ments of expression which spiritualize the at- 
mosphere he breathes. The elements and the 
plastic symbols of the Machine are inevitably 
as much symbols as a god Pan, the taking down 
from the Cross, of the Assumption of the Vir- 
gin, etc. The logic, therefore, of aesthetic 
verities becomes self-evident, and develops paral- 
lel with the spirit which seeks to contemplate, 
live and identify itself with reality itself. 


RAE AtelHETIC OF THE MACHINE 
AND MECHANICAL INTROSPECTION 


We, today, after having sung and exalted 
the suggestive inspirational force of the Ma- 
chine—after having by means of the first plastic 
works of the new school fixed pure plastic sen- 
sations and emotions, see now the outlines of 
the new aesthetic of The Machine appearing 
on the horizon like a fly wheel all fiery from 
Eternal Motion. 


WE THEREFORE PROCLAIM 


1. The Machine to be the tutelary symbol 
of the universal dynamism, potentially embody- 
ing in itself the essential elements of human 
creation: the discoverer of fresh developments 
in modern aesthetics. 


2. The aesthetic virtues of the machine and 
the metaphysical meaning of its motions and 
movements constitute the new font of inspira- 
tion for the evolution and development of con- 
temporaneous plastic arts. 


10 


3. The plastic exaltation of The Machine 
and the mechanical elements must not be con- 
ceived in their exterior reality, that is in formal 
representations of the elements which make up 
The Machine itself, but rather in the plastic- 
mechanical analogy that The Machine suggests 
to us in connection with various spiritual reali- 
ties. 


4. The stylistic modifications of Mechanical 
Art arise from The Machine-as-interferential- 
element. 


5. The machine marks the rhythm of human 
psychology and beats time for our spiritual ex- 
altations. Therefore it is inevitable and conse- 
quent to the evolution of the plastic arts of 
our day. 


ENRICO PRAMPOLINI 


(Translated by E. S.) 
Reprint from Little Review. 


AUSTRIA 


DR. JOSEPH FRANK, VIENNA VI 


52-54 Perspectives of Country Houses. 


53 Ground Plan and 2 Perspectives of Coun- 
try Houses. 


56 Ground Plan and 1 Perspective of Coun- 
try House. 


OSWALD HAERDTL, VIENNA I 


57-59 Photographs of Country House in Meran. 
60 Photograph of Workmen’s Cottages. 
61 Photograph of Architectural Exhibition in 
Paris. 
62-63 Photographs of Architectural Exhibition in 
Vienna. 
64 Ground Plan and Facade of a Country 
House in Erba. 
65 Perspective of a country House in Erba. 


PROFESSOR DR. M.C. JOSEPH HOFF- 


MANN, VIENNA I 


66 Project for the Beethoven Music Hall in 
Vienna, Perspective and Ground Plan. 
1:1000. 

67 Perspective of the Vestibule in the Beeth- 
oven Memorial in Vienna. 

68 Perspective of the Austrian Pavilion at the 
Exposition des Arts Decoratives, Paris, 
192 9: 


PAE OE PE Be 


ide 4 [ Ta) ivaigenty wh 


404 ad ton teem girteels brocusdyee 

AY 
(MTG sa 
i] 74 rudosté wT 
’ us i M aay bi32 7 ast . lé st 


atin “2 yaa 
9 Beads wit} 


lareuat of em ined 
ahem. 
-oceaiq sch 


, 
& T 
r , 
‘ ‘ 
4 * 
i ne ¢ 
! j if 
si ee 
a. 
tg {3 
~ A P 
) bye a | ivi: 
i ay 
‘ we . 
* f~ 
Air. §G ‘ 
io Da i .* Hes" eS 
-\ 74 is a —! 2x: 4 
- oie 
} 
- ion f 3 
6 t 
' 
. nye 
oF 
U vv : Eyles! 
7+ 
Ve 
7. ree 
. 
1 e 
f i ray x 
4 
‘ 
i 5 


230M -orReOL 5 MeO 


Tt 
Z 
vEr4" wal | 


chy BEE ye 


: a 


eERersin 


or { 
rel 
. aa 


> at 


ao ~tpeae) we. 


ee a i 
sont Ee 
byeph tay yal sapiens ~~ yd et ok 
Serene iraboat yd ier a 
SHER. As “ih G&S viadve 3 Sioa 
$0 0 goose ned couUniqQeaae 
to mobteon ae nvynted Gort Gis 
ke heh yerane! os. sone 


4 
—— 
watt 45a. 


ietustits the al vobet? ang ce 
hat toad Sais orcad to 
ade aay pew auile whol fil 
dA again. ist he ; 
ont fie Lanter ei of oO 
htieeil ai euan wired oy wee 
bp atts SRG] 7 YRS ree oo 
. ete Wey 


(ie. 


use seit te: citi? 
31) SEAS OP te 244i TWO ae ity 
juts. elicit 3 lad ie 


ma eeitr 2 a ‘aT 
va a 
rane meses? ar J Log se 
. sae of. bate 
wy 
‘arg pacts rata be rie sushi “3 
ite ites wie oh etase do fr 
locrr NW 


i t; -~y- te 
ho ee ed 


- 


ai “iff “Veubd bi 
ROTOR ATU TAS 


bittees: Eeia ou pave 
yh aeitt “ 4401 ts rv 
siienta eye aris to one 
1 Sieeio, serum. hs 
io. saci: sak — a 
aria a A ail Way 
cual get Mie indo ah a 


mak 


“a2 non ir 


lesshervigz: isk oma wht of ats 
wbhadina % aienies eras (: 
(eer he ateseels tasandae i 

sisval desad 4e onevadl 


Pi -* 
; . - 


betty aendaeer at? te any 
irae | eine am wy. wine | 
crite Mp snokwos sdb statins 


spe neces eg OHO 


ph Hoffmann 


PROJECT FOR BEETHOBEN MUSIC HALL IN VIENNA 


By Jose 


11 


RUROINI 


. A j bh ; 
eae 4 SS i 


hom EL 


MODEL WCRK'!NGMAN’S 


UNIT HOUSE 


By Oswald Haerdatl 


Photographs of Country House. A. Z. 


Ulrich. 


j ‘eS 
mune | 
SERRE RS aaa ao it 2 
num 
PT TTT TTI 
mam | 
PT Ty TLE LE LLU) L-} 


ee ait ae 


98 


BADBANLAGE = M*ESO UY ENOL FACIRR +E 0-8: A-- ROFE MANN WHS ry 
#52 é 


bassy Building in Angora. 
Country House in Angora. 


; |, 
Bh Bi: 
EE 

awe Seeeseeeeeseeeoe AS : 


69-70 Photographs of Inner Rooms. 1. Corri- Photograph of Country House. Phil. 
dor. 2. Pantry. Ginther. 
71 Photograph of Dwelling House. 81-83 Photographs of Country House. Phil. ; 
72 Photograph of County House in Velden Ginther. 
and Ground Plan. 84-85 Photographs of Country House. A. Z. 
73 Photograph of Hall. Ulrich. 
74 Photograph of Lady’s Dressing Room. 86 Plans of Country House. R. Trestler. | 
87 Plans of Workmen’s Cottages. R. Trestler. 
CLASS IN ARCHITECTURE 88 Plans of Country Houses. C. Panigl. 
89-90 Photographs of Hotel. H. Steindl. 
Sues DEM. C.J. HOFFMANN, 91 Photograph of Cottages. St. Simony. 
VIENNA | 92 Photographs of Cottages. R. Trestler. 
. 93-94 Photgraphs of Country Houses. R. Trestler. 
75 Ground Plan of Country House. Ulrich. 95-96 Photographs of Country Houses. C. Panigl. 
76 Ground Plan of Cottages. Ulrich. 
77 Photograph of Bath Room. Lilly Engel. 
78 epeeseaph of Country House. A. Z. DR. OSKAR WLACK, VIENNA VI 
Ulrich. th as aitn hi onan - 
79-80 Photographs of Cottages. A. Z. Ulrich. 97 Perspective and Ground Plan of an Em- 


“a = 


PROJECT FOR BATH-HOUSE (MODEL) 


By Lili Engel, Pupil in Master-Class Prof. Joseph Hoffmann, 
Vienna 


12 


d Bt 
A ‘ 
af 
i ifs.) 
™% 
me 
i iste ate 
= P + j 
i & , ° 
i 29819 
‘ iv a eed 
ee 
> \ ye arts y,] 
. a€ 7 | oe * att 
¥ ¢ rs * 
; pe Aer 
MAAR TIO 1 
*% \ a ee mm ae 
: fae: ee TE awe > 
+3 
+f Dire 3 oe one kim 
" Pied 
As Pie GR, - oth eo 
i r , "a a 
’ 
——~e bs 
ft J 
3 “i ‘ 
: f 
age ; Wy. a =~ Zh oh, - % 
tee . ee r 
? 2 : at, 
pies _ 
in eS 
: — a , we 
‘ : ; . we soa 
6 ae i ea 
a i | Pa =i ROT ate * ‘ee 
ey: i al WAM te te 12 : 
a ne . ae a ee Ns ,; HEX 
P 4 2 RGSK EO Beer Sew ene 
i We 


"5 . a Wee We oe Sa oe ee 
g > Bie ecsere ot Ree 


j PEN Bid b ie bP aa a 
Be fet oe 6 1 : Ueds 


8 
_ LD td 
oe Wars : 
¢ } 
+N 

(i A “if 
on < 

5 


t as 
ce bt , DAs: 


MACHINE AND ART 


T IS indisputable that the basis of Art al- 
ways remain the same, even though the 
exterior forms of Art change, the spirit 
of the epochs is reflected in these forms. Before 
the period of the Renaissance, Art was bound 
to the religicn, and was mystic in general. These 
yariation of forms were called “Style”. Thru 
these different styles, we recognize the different 
spirits of the epochs which are reflected therein. 


Let us look at the Egyptian style which, 
through its monumental character, reminds us 
of the mysteries of the eternity of the Earth. 


Let us look at the Gothic style which precip- 
‘tates itself towards the heights of religious 
spirit. This styles was only possible during the 
Middle Ages when the tension of religious be- 
lief was pushed to extremes. Many other out: 
side expressions tell us of the spirit of passed 
epochs. 


I prefer not to dwell on the period of the 
Renaissance, because this form of Art contains 
less than any other, and I think that the histo- 
rians are wrong in calling that period “Renais- 
sance” for it was, in truth, the decadence. 


Let us take the present epoch—The Machine 
Age. If we were not so close to it to-day, and 
if we could see with an eye embracing many 
centuries at one time, it would be easy for us 
to distinguish that the present period is the 
time of Machine and Action. 


Since Art is the reflection of life, it is evi 
dent that the Art of to-day must be bound to 
Action. I willingly attack this subject for, at 
present, I am working in that direction myself. 
There is great danger if the bad road be taken 
in solving the problem of the union of Art with 
the Machine. I am giving, herein, the danger 
ous road as well as the correct road. 


I find the dangerous road in painting which 
represents only fragments of machines. For 
example, futurism and dadaism. The artists of 
these two schools have painted and installed in 
their pictures, fragmentary wheels, mechanical 
parts in an illogical order which only express 
Rhythm, not the rhythm of movement, but 
rather the rhythm of distance and color. These 
paintings remind us of junk shops, but in no 
case do they speak of our time, the Epoch of 
Action. 


I do not think that the right road would be 


SCULPTURE 
By Alexandre Archipenko 


13 


wre 
; 


i 
> Sate: 
4 
% 
- 
» 
Pa 


“4 
BS 


4 
v 
r 
7 
fT 
iJ 
te; be 
* ; WAL ee I 


ms 
- 
“ 


OMS i 
z md 4 
Sii2 By ew * 


Loy, oa Pes 
~ , Oi i if . " 
‘ee Sa rial 
' V 


A et lo 3 a 


< ; J arly a huni isa 
4 aes" enthinas tA jo 
caus. 3 “odetel ott acy ieee 
'*, a, ae = iy : , esi 
a” : Ein rey 3 beatae +s f 
. ~ ee | 5 ide, ‘s Sunabesabs i ¥ 


a 7 - age Oe ae , ? “4° : 
5 ie, wide ad T-~dooe 
Z | i. ae Dns eho a ons 


nit seaomrdins sty 
ae mak yeas wl Lalo 
of 2: boieq Jase 


4 


had 


a 
at 


* 


— 
“ . 


VIA GER.” 
ome. whwweh OR 


= on 

y 
+ ' 
oY? 


to build a machine which wou'd accomplish 
the movement, even if this machine were useful: 
an automobile or a turbine. I see the right road 
for the union of Art with Action, only by 
means which permit the interpretation of Ac- 
tion through movable forms and colors. | have 
been working directly in this for several years, 
being inspired by the Einstein Theory of Rela- 
tivity as well as by the ambience of the most 
modern city of the world, New York. 


I have invented “Peinture Changeante” with 
which I can paint different movements, rhythms, 
all kinds of changes and transformations of line, 
color, form and subject, beginning with natu- 
ralistic forms through the most abstract forms. 
This invention is called “Archipentura” which 
means, superior painting. I do not disapprove 
of static painting which has refle-ted the most 
refined variations of the soul and human spirit, 
but as this painting does not possess the means 
of reproducing the real action, | do not think 
it the right means to express our time cf Action. 
To this end, Archipentura is superlative, be- 
cause it can show real action in the picture, 


ALEXANDER ARCHIPENKO 


PROJECT FOR A RADIO BROADCASTING STATION 
By Knud Londberg-Holm 


14 


COAL POCKETS A : 
By Charles Higgins, New York 


es 


ycoptogs: Sylar duithy satfizan & 
ring SOR iat ets (bee, at 
Jus ot dee) orate ver Sa 
wet dw dA oom 

| pare ots Sane 
| «sobs Dre etn aldgvom fi 
ray S15" 1} ‘13 it ae ot 
] lo vas. mind “a es 
6 sorties oda vd 26k 

pet walt bhow si 


“omg suit” 2b 
hy garisb OR rt eotib. 
a sqnesgsihetence arr 
die giewniyed onden 
rtiha dros ny ‘g | 
A * oct acttsatiete ih bs ily 
. pirat? tet bb b his 4 
ence Sl dee ales ort) Tiel 
i Ngee rth | fans te a Wk #4 
ae gas pth amy I aie f 
re dt Jag sdb 1) gaa Pee 
| A jo sit sat cries 
dd orcmiyeue 1 oeg 
TWIT Orr] a ned 


PPA ARK : mn 3 


amy 


——— = 
¥ 
n 
' : 
’ 
“s 4 Fy 
se 
4 
% < ¢ 
cheat 
i) 
7 we ey 
re 
a! 
; 4 ” — 
y yee 
{ =, ike t Le $ 
++ % 
* ae se My ey bs 
‘“ 
: vga: Hoe oh 
i Neat tae CO en PS ae 
Ny i re dhe : yes 9 
Gag Ra ee SE 


GARMENT CENTRE. NEW YORK 
F. A. Fairchild’s Aerial Service 


BELGIUM 


R! ACKE, COURTRAI 


99 Moving Picture Theatre “De Gouden Lan- 
teern” at Courtrai (fa¢ade). 
100 The Same (Interior). 


M. BAUGNIET, BRUSSELS 
101 First Sketch for Smoking Room. 


V. BOURGEOIS, BRUSSELS 


102 The Modern City. Place des Coopérateurs 
at Brussels. 

103. The Modern City. Apartment Building 
in Brussels. 


Ee. KONINCK, BRUSSELS 
104 Miscellaneous. 
L. DE KONINCK AND L. FRANCOIS 


105 Apartment Building in Brussels. 


J. DELIGNE, BRUSSELS 


106 Hall for Dancing Lessons at Brussels. 
107 House at Brussels. 


J. EGGERICQX, BRUSSELS 


108 Villa “L’Escale” at Le Panne (Belgian 
coast). 


L. FRANCOIS, BRUSSELS 


109 Dwellings at Palerme and at Brussels. 
110 Interior of Shop at Brussels. 


M. GASPARD, BRUSSELS 


111 Furniture for photographic accessories and 
for the display of useful objects. 
112. Interior and Furniture. 


J. F. HOEBEN, BRUSSELS 


113. Villa de Mme. S. at Reeth-Anvers. 
114 City Plan for the Suburb of Molenbeek St. 


Jean at Brussels. 


H. HOSTE, BRUGES-LINDENHOF 


115. “Noordzee Hotel” at Knocke (Belgian 
coast). 

116 Hotel for Unmarried Workmen (industrial 
city of Salzacte, Flandre Orientale). 

117. Church of Zonnebeke near Ypres. 


“WA Ta ie Rw, ee 
7 ar. oy 


.s 
o = , 
’ ra i 
t 
“ia 
r ' ; 
ty 
a 
# al , 
y ‘ “= 
a 
4 be} 
” * 
~ 4 
» 
a 
‘n Fae 
Ray a 
y= 
‘ ane 5 ‘ 
i a 
- ‘ fe 
ii en ¥ , 
ia} 
2 
Wi 
= 
Pi 
ar 
* ie 
* * 
\ 
% 4 
+ a . My 
a $ r a ¥ ce ee gee 
a are & ai ae 
$ ms ove (leds f 
: ri b 
¥ 
. ‘ Sih = rage) 


t ie eS te ee 2 2 re 
MPG QZAD —— i? 
a erent a. oe 

MED cokey Seo Son 


4 Sibi Homey 


ey meri 


amet. of Be 


ao An yp mh gms ks — 


IOV -230URG sTeOH HM hla 

hott” aushawit” ~~ Fy) 
frm 

bp vrtreragis Wt ine Pf 
t wtilat Jo qt 

ihn ipa: Ti 


‘ 


a o. 
i a é ’ 
¢ 


Louis Lozowick 


H. HOSTE AND L. VANDERSWAELMEN, 
ser To Pe AND E. VANDERSWAELMEN, 
F.GOSSE,BRUSSELS + 


118 Sculptor at Genéve. 


119 Monument to the Belgian Soldiers Interned 
at Amersfoort Pays-Bas. 


120 Pylone. Front and Side. 
S. JAZINSKI, BRUSSELS 
eee OSES 
121 Cabinet and Couch for a Music Room. 


MARES & ZANDHOVAL, BRUSSELS 
MARES & ZANDHOVAL, BRUSSELS 


122 School at Maestricht (Holland) 
at Maestricht (Holland). 


NYST, BRUSSELS 
123 House at Brussels (detail of the entrance). 
124 House at Brussels (facade). 
A. POMPE, BRUSSELS 
125 Orthopedic Institute at Brussels. 
126 Miscellaneous. 
P. RUBBERS, BRUSSELS 
eee PE. 
127 Houses at Brussels. 
128 Inexpensive Houses at Kappeleveld. 
L. VANDERZWAELMEN, CITY PLANNER, 
eee ete ET he AINE 
BRUSSELS 


129 City Plan of the Industrial City of Sal- 
zaete (houses in the city by the archi- 
tect Hoste). 

130 Plan of the City of Kappeleveld (houses 
in the city by the architects Hoste, Hoe- 
ben, Rubbers, Pompe). 


A. VAN HUFFEL, BRUSSELS 


131 House at Ghent. 


16 


P. VERBRUGGEN, BRUSSELS 


132 


133 


Corner house with apartments. 
Institute of Bacteriology at Antwerp. 


R. VERWILGEN, CITY ENGINEER 
BRUSSELS 


134 City Plan in the Devastated Regions. 


E33 


The Same. 


COSTUME FOR “MACHINE-VENGEANCE” 
By Vera Idelson 


i AF 
Ld 
©? 
ene - + om, 
! 
com ; 
5 ¢ 4 
of 
» i 
' 
ao 
ee 
; 
. ; ‘ | 
’ 4 Be ! 
i j 
4 
pan ee 
+ - 
“4 i7 
< 
7 
: ‘ ; 
¥ V4 
: 
un 
7 me) 
es ew 
5. a 
7? ay y 
oat J 
as 4 
ry) 
J * 
, my 0A, ' 
— 
a a. on } 


IMfam” WOM Re Teo> 
entieh) oot 4h 


eporers. ae 
yess, seis Sih sibel ari} ooo 


4 pad 1s 2 


he inom if 


oath ee 


&. 128078. sa 


thostl)) Appeal 
Ee Lia sli 3 


t@ 


{oo eee st a) ik 4a be bing oak 


GRAIN ELEVATOR, BUFFALO, N. Y. 
Built by Monarch Engineering Co. 


ISOTTA-FRASCHINI MOTORS INC. 
401 Air Engine. 
EIMER & AMEND 
402 Display of Chemistry Glass. 
HUNT DIEDRICH 
403 Fire-Screens. 
DEPERO 


405-406 Tapestries. 
Loaned by Nina Perera. 


FAIRCHILD AERIAL SERVICE 
406-415 Photographs. 


SAUNDERS DRAPER 
416 Design for Motor Car. 


RAVENNA MOSAICS, INC. 


417 Glass Mosaic Panel. 
“Three wise men”. 
418 Modern Stained Glass. 
419-421 Photographs of Mosaics and Stained Glass 
Windows. 
Executed by Ravenna Mosaics, Inc. 


STEINWAY & SONS 
42 
423-42 


2 Steel Frame (Piano). 
4 Moving Parts. 


RALPH STEINER 
425-438 Photographs. 


GEORG JENSEN 
439 Hand-made Silver. 


U.S. ARMY DEPT. 


440 Machine Gun. 
441 Rifles. 


PULMOSEN SAFETY EQUIPMENT CO. 
442 Industrial Safety Garments and Masks. 


G. LASCHAISE 


443 Seated Figure. 
Loaned by Helena Rubenstein. 


E. NADLEMAN 


444 Head. 
Loaned by Helena Rubenstein. 


17 


ea 


= 
" : 
¥ 
‘| 
, 
‘ 
i 
i 
* 
. 
‘ 
‘ a 
eh: a eee 
roe rie mh 
¥ £ ws 
4 i yr 
- \ 7 
aT 2 i 
Sa A ee ‘ 
‘ j oe? : i 
ite 
. a, ; 
4 cele | . 
haa 
: r 
ts . : 
he 7 i's om “ae A wa Ns 


ys “it AOE CPS NGM, he” PN anaes es 


L Ate + <4 
P| r elee My ’ 
~ 2 
fv . 
e 4 
vi at ey ; 
me ABs 


£3 ye ce OO 40 


, ae 


-— 22 an 5 nie 
- ; 


wml 


Ta YAR 


Se Alek Tae pe al, 
ie 24 is? 


peti iD 


4 VISAS MagQamdUN 


ie oe. Er ape beet 
ne | sie mt 


321 6H 508.1 3) i 


« til em. moms 

‘°3 f 

| Seer trp 
MIRAE ‘ 


Mans JQOAW ce 


Rares mmm 1 
hee papas 


Louis Lozowick 


THE AMERICANIZA- 
TION OF ART 


F ONE were to grant the allegation that 

America possesses a meagre cultural her- 

itage and lacks the weight of established 
tradition, it would by no means follow that 
material for creative activity in wanting. The 
intriguing novelty, the crude virility, the stu- 
pendous magnittude of the new American env- 
ironment furnishes such material in extravagant 
abundance. To the truly creative artist the 
fallow rawness of the field should prove only an 
additional incentive to its intensive cultivation. 
The artist’s task is to sift and sort the material at 
hand, mold it to his purpose by separating the 
plastically essential from the adventitious and, 
in this manner, enrich the existing culture and 
help to establish a new tradition. 


The history of America is a history of stub- 
born and ceaseless effort to harness the forces of 
nature—a constant perfecting of the tcols and 
processes which make the mastery of these forces 
possible. The history of America is a history of 


18 


gigantic engineering feats and colossal mechan- 
ical construction. 


The skyscrapers of New York, the grain ele- 
vators of Minneapolis, the steel mills of Pitts- 
burgh, the oil wells of Oklahoma, the copper 
mines of Butte, the lumber yards of Seattle give 
the American industrial epic in its diapason. 


Environment, however, is not in itself art but 
only raw material which becomes art when re- 
constructed by the artist according to the re 
quirement of aesthetic form. The artist cannot 
nd should not, therefore, attempt a literal soul- 
less transcription of the American scene but 
rather give a penetrating creative interpretation 
of it, which, while including everything relevant 
to the subject depicted, would exclude every- 
thing irrelevant to the plastic possibilities of that 
subject. 


Every epoch conditions the artist’s attitude 
and the manner of his expression very subtly and 
in devious ways. He observes and absorbs env- 
ironmental facts, social currents, philosophic 
speculation and then chooses the elements for 
his work in such fashion and focuses attention 
on such aspects of the environment as will reveal 
his own esthetic vision as well as the essential 
character of the environment which conditioned 
iG 


The dominant trend in America of today is 
towards an industrialization and standardiza- 
tion which require precise adjustment of struc’ 
ture to function which dictate an economic utili- 
zation of processes and materials and thereby 
foster in man a spirit of objectivity excluding all 
emotional aberration and accustom his vision to 
shapes and color not paralleled in nature. 


The dominent trend in America of today, be- 
neath all the apparent chaos and confusion is 
towards order and organization which find their 
outward sign and symbol in the rigid geometry 
of the American city: in the verticals of its 
smoke stacks, in the parallels of its car tracks, 
the squares of its streets, the cubes of its fac 
tories, the arc of its bridges, the cylinders of its 
gas tanks. 


Upon this underlying methematical pattern 
as a scaffo'ding may be built a solid plastic 
structure of great intricacy and sublety. The 
artist who confronts his task with original vision 
and accomplished craftsmanship, will note with 
exactitude the articulation, solidity and weight 
of advancing and receding masses, will define 
with precision the space around objects and be- 


af : 
anetioam Imeclos bag stew) yrrroorgad pio ot 
; onuD rane TR 


-4i4 is “eS TY wet- ogre ae aL 
4% to allen trate $88 dileg conn 3 eee 
a9 343 .emnodnll® Yo ellow he sda aie 


gig altics2 to abtcy sedinwi oo) 2d - eset 
OOD By I> Lereeeesioey Bis epee ls «thy 


- ¥ 
. d ne Veen on eee rrewod RY orsit seiual y ie 
, toe the aorcpoged fom arene wu, 


? 


ominonss wise SH ya belt Teno 


» Bi4 ti ts } ; rip | ;323s ys STIGAETS GP 
levoTll & 3 7 His) on biped pat 

it feDit mf % i nodoreise era 
' ’ vigEevT uti IME > 3S? gets ? 
: pas ie? eet oy es foarte yn fa 
tov iis binow r$h yooh Si Gy 

i 33 ) BSE Ie PJ ra te tt +} OF WOES Hy : chetd 
y ey) 
2 >, a! * ‘ 
4 sia ¢ { 2 VEST Sess 


” | 3H ewew sporvel:ai 


, ? -- 
iy , iin | t ie 326 Kirn aire 


- 
- 


4 
: ‘i ei is ib re \ . $ MIRE 
+ . 
- i ; & 10 rr t ey «tt 
; 4 7a JP4 eos wos 
- ve : { 
bec) pad me 
: 4 
han sat hs: im) h) TST 
v4 
, ' hn 
’ i ee 
begs ths rey getters Ott 
: wert if Lira 
? * Gf ey fl a] 
’ ’ . 
- ¢ ai al f ( tA 
: SE a f - (nid 
‘ 


fi e\ k 
\ 
: l a wT eY 
— es 
“ry 
P a {fF fy al 
- ¢ ery 
* 
i LTE wr 
bur ¢ TY 
‘ fy - hh tye) 
> 
, . 
4 
i i i? 
rt , 
; : se 
9 141 of) 
, : © j : t 
f rf 
‘ eS he 
: at AG 
t 4 
im : ; 
} 4 — 
} \ i Marana ast hi 
t ; 
} 4 
thé ete 
‘ , 
ra me y - 


~-ASIMAOTAS 


» 


TRA WOU 


int} Gateneiis 26? Oh 
youd le sty i hE off} £ 


AT sai oo 
aw od wilay ober ag 
woo nee waged 3, aes 
see eo oo: lei 
sit Site oct. ee 
As gine Way inser 43 + 
ose syste 231-0 
te ieriatse ait des bom Fy 
wis prituvatee ye SOD 
bene art Fes she sets a7. 
brs swwikio Sfiniexa wis Acts 


either) eee 


duse to vrotdid 2 sore: 
lo asotal att ond of Mole 
bac aloot oft lo gottvelsor See 
sot sant to yoann sft 


erotead sa inomA to hee 


oe ‘3 


tween them; he will organize line, plane and 
yolume into a well knit design, arrange color 
and light into a pattern of contrast and harmony 
and weave organically into every composition 
and all prevading rhythm and equilibrium. The 
true artist will in sum cbjectify the dominant 
experience of our epoch in plastic terms that 
possess value for more than this epoch alone. 


A composition is most effective when its el- 
ements are used in a double function: associa- 
tive, establishing contact with concrete objects 
of the real world and aesthetic, serving to create 
plastic values. The intrinsic importance of the 
contemporary theme may thus be immensely en- 
hanced by the formal significance of the treat- 

; ; . 60” SUPERIOR McCULLY ALL STEEL GYRATORY 
ment. In this manner the flowing rhythm of CRUSHER 
modern America may bz gripped and stayed — Built by Alls-Cllalmers 
and its synthesis eloquently rendered in the na- 
tive idiom. 


The whole of mankind is vitally affected by 
industrial developement and if the artist can 
make his work clear in its intention, convincing 
in its reality, ipevitable in its logic, his potential / = 
audience will be practically universal. . “e 

And this is perhaps as high a goal as any artist = 
might hope to attain. 


— | 


LOUIS LOZOWICK 


; f INDUSTRIAL PLANT 
Louis Lozowick Russia 


19 


4 r 
etn stuals cori! ozinep i Bie 


ews P : 
. e 
‘ i 
A tL F 
ee : 
ome ene 3 x 
ia 4 
vs Pie a 
5 ‘ 
4: 
hf ; hi 
f bal 
. i 4 ; 
: pe Sy 13 
, 
st 
-* e ‘ Pee 
™" i a 
‘ 
A \ i * 
‘ a i >} cae 
ip’, Peat 
n a “He i 


. af a 
é 
: ! 
a 0 Vis 
shots oH 


tee petted 


Re peepee 


ROIWORLD 


ei 


GARDEN FOR NVON. LE VICOMTE DE NOAILLES A HYERES 
By Gabriel Guevrekian 


ROOF GARDEN, HCUSE GF NON. E. B.. VERSAILLES 
By André Lurcat 


20 


< 
f, F 
- ud 
‘ 
, 
\ 
o> 
* 


gy 
* rw 
"= 
yu 
’ 
~ = 
| 2) ie 
“. 
‘ss 
i 
¢ 
. 
: 
F 
ae 
‘ 
dew 
or J . 


i 2 


hae 9 


Ale. 
7 


ath: 


VILLA AT GROSLAY NEAR PARIS 


By Jean Moreux 


HOUSE AT BOULOGNE-SUR-SEINE 
By Robert Mallet-Stevens 


FRANCE 


GABRIEL GUEVREKIAN, PARIS 


136 Photograph—Garden for Mon. Le Vicomte 
de Noailles A Hyeres. 

137 Plan for same. 

138 Colour drawing of same. 


139-140 Photographs of model for Garage. 
141-146 Studio Alban. 


147. Plan Perspective Axometrique of same. 
148 Villa for Mon. R. W. 

149 Arts Decoratifs, Paris, 1925. 

150 Garden Arts Decoratif. 

151 Music Shop “Au Sacre du Printemps.” 


152 Music Shop “Au Sacre du Printemps,” 
Interior. 


153-157 Plans for Garage. 


ANDRE LURCAT, PARIS 


158 Plan for Workingmen’s Dwellings. 
159 House of Mme. E. B. Cite Jeuret-Paris.. 


160 House of Mme. E. B. Cite Jeuret-Paris, 
Garden Facade. 


161 House of Mme. E. B. Cite Jeuret-Paris, 
- Interior Stairway. 


162 Garden of same. 
163 House of Mon. A. M., Versailles. 


21 


~ 
nes 
' 
6) 
* iat ‘" 
, be 
‘Tr 
ue 
. 
« 
¥ Dp 
5 a ay 
7 Fe 
‘ T 
* 
¥. 1 
; 
A * 
5 
ee 
Sa) 
‘ 
' 
} dg 
ee z 
; aS ze 
i 
— ‘ 
ALe a 
3 : 
+ 


Me MOS 


i ig wordt 
: : prt, 
, wear, 


p LZ 
! jet. “ay. tee 


“ip Rat me 


winks Wh tea): 


\ A noted 


ont 
al 


' 


~ 


‘ 
1 
. 
+ 
” > 


ne | 
nee 


{ ivf 


GARDEN FACADE, HOUSE OF MON. E. B., VERSAILLES 


By André Lurgat 


164 House of Mon. A. M., Garden Facade 
North. 


165 House of Mon. Jean Lurcat (Painter). 
166 House of Mon. F. T. Cite Jeuret. 

167 House of Mon. E. B., Versailles. 

168 Living Roome of same. 

169 Furniture in Library by Gravures. 


170 Houses of Mon. A. H. and Mme. E. B. 
Cite Seurat, Garden Facade. 


J. CH. MOREUX, PARIS 
t2t 72°" Plans. 


ROBERT MALLET-STEVENS, PARIS 


172 Photograph, House at Boulonge-sur-Scine. 


22 


tes 


* 
* 


4 


if 
f. 


FRENCH 
ARCHITECTURE 


HE BALANCE sheet of French archi- 

tecture up to the time of the present 

movement may be summed up as follows: 
Tradition abandoned in 1820; since then a cen- 
tury lost. 


This unfortunate result has come about in 
spite of the isolated efforts of such architects as 
Viollet-le-Duc, de Baudot, Tony Garnier and 
Perret to recover the line of pure tradition. The 
lack of response to their work may be accounted 
for by the general confidence felt in the teaching 
given by the state schools under the successive 
governments of the past century. 


q =e | 
(e 
- 
* "7 ' | 
df 
‘ - 
a 
ies a | e 
i y v! 
‘ 
a ‘ 
; 
Ay * 
§ » 4 % 
i : 
; 
| 
¥ ' a 
ae % 
, a 
a 
; 3 “ rt 
ta, ie Daas ; ' 
« 5 ae, 
- SS Ce 
* ‘ i= re 
H : . 4 io he 
v, Pie ae 
- 
ab: 
i 
2 “fi 
is A ; 
* sal r 
J A 4 
th 
' dee. 
- ir 
s ’ 
vs | Oe Leek Spe My 
a ae ie: 
4 | 3 
Bee A Pee & Ge : 
’ _ ia ; > % is 
; ‘ at © TF ere £54 
he oe ee eee a , ren, 
i” 4 a ay 1 r 
TD: AN EN: 
fs qu oe Me 
“4 | ra 35 | val 


watt ah owlatwioy 
act! HF TRANS 4 inst 


benne fereig oly wl a6) 


2uWInio> Jon ah eaieeOy 
a. = a 


- 
a 
- 
° 
7 
> 
ay 
— 
“4 
5 
_ 
+e 
~* 
oe 


‘3 Ca eongee > aoet 


i UR ond asi clei, 


<i> 
ie Ne on, 
; f 
a8 
H 


ana 
ye he 
a a --* 
7 ; 


Our School of Fine Arts was founded a hun- 
dred years ago on a false theory, and from the 
beginning its teaching has been empty and un- 
real, based on a misunderstanding of tradition. 
It must die now of its own malady; we can do 
nothing to help it. 


In the first years after the war a few archi 
tects appeared who had observed the spirit and 
needs of their time closely. These men were 
trying to draw up technical and aesthetic laws 
for new buildings, adapted to modern life and 
enriched with the immense possibilities offered 
by the expansion of industry. Under the stimu- 
lus of such an opportunity very young archi- 
tects, not connected with any official organiza- 
tions, are now beginning to develop, thereby 
justifying their forerunners. 


The Frenchman, who is both intelligent and 
distrustful, has a fear of innovators. He must 
observe them before accepting them. This re- 
sistence, however, is a source of fresh energy for 
us, as only those who welcome struggle and op- 
position will survive. The hangers-on of the 
early days are being automatically eliminated, 
and our own efforts are consequently more fo- 
cussed and willed. 


The few “modern” architects in France to- 
day—for we are not many—may be considered 
innovators. (1) 


Unfortunately our small number is not all 
that prevents effective acticn. We are also 
hampered by our fundamentally individualistic 
habit of mind: no organization, and hence a 
scattering of effort; no influence in official 
quarters when competitions are held; and no aid 
from the state for propaganda in France or 
abroad. These are serious drawbacks in our 
time, when architecture should be essentially 
collective. 


The “modern” architect in France at present 
is completely isolated, unknown by the public 
and ignored by artists. 


It is important to stress the continuity of the 
instinct which leads French architecture away 
from theoretical research and toward construc- 
tions uniting both plastic and structural values. 
During those years which were so rich for us in 
plastic, and so lean in technical experience, we 
were concerned chiefly in saving the intellectual 
and structural values from being wiped out. 
But we also had to avoid the dangers of the 


machine-attitude (a misunderstanding of a new 
form of beauty), which could result only in 
suppressing all life and lyric quality in the plastic 
expression of an art already abstract in itself. 


We began by completely shedding all decora- 
tive formulas and following simply the nature 
of our materials. This brought inevitably the 
unity of appearance and simplicity of expression 
which are the strict basis for the future of a new 
plastic development. 


Our first constructions show clearly that we 
are using only primary elements, whether in 
volume: cube, prism, cylinder, sphere; or in 
surface: square, rectangle, circle. 


The future will show whether this shedding 
of an empty culture, resulting from a plastic 
purification and the economic conditions of our 
time, has helped to develop architects who will 
recapture the tradition abandoned a hundred 
years ago and who, for this purpose, will find 
the laws of their own aesthetic within them- 
selves. 


/ 
ANDRE LURCAT 
January, 1926 


(1) YOUNG FRENCH ARCHITECTS: 


Guévrékian, Le Corbusier, André Lurcat, Mal- 
let-Stevens, Moreux, Guilleminot. 


To be recalled: Augusté Perret, Tony Garnier. 
(2) CONSTRUCTIONS: 
Guévrékian: shops and gardens. 


Le Corbusier: private houses, Paris and vicinity; 
public garden, Bordeaux-Pessac. 


André Lurcat: 
vicinity. 


private houses, Paris and 


Mallet-Stevens: private houses, Paris and the 
provinces; garage. 


Moreux: industrial plant, Paris; country homes 
in vicinity. 
Guilleminot: 
Note: Since this article was written, the 
impulse of the young has gained strength and 
the public seems much more favorable to our 


movement, apparently recognizing its necessity 
and truth. 


23 


won 6 to giibamieishwue a 
ni vino Mest) Bhi doariy 
oo) gh : 3 mM Vel esas 


¢ 
is fe T. Spee POAT Le ris 6 


SIOIGE SS ELD 


x a> i ibis r i! ao <0 ea , VW 


stt oi) Yep warwey i eprarert yee 
i oF : cae j Sri Ve 

> et vv Mf bs . eee Re Bes | te) Tai 

Sy ort afd tol weed Genre oat ak Aare 


Voi 21h 


rf ‘ , rer tj ; 
/ 1% i 91 aes 
Tia 7st ’ > 
{ AT! 
boat wis 
ae Tp P 7 ie a | 
i + Dee t 
Live. (ey a eett 
; ot 
- ' “ 
' 7 ritj es i ¥ 
é 4 “Sh 
air ls 
” 3 i A 
iy 
\ t tH} 
* rc r , a 
} i/ } bee rae 
‘4 " , rity ; 
~— , 4 
ive iJ ~ ry ;? es) 
f d Bi 
; > 1 mi { peti rT ee |] 
msrtTt eo ; ¢ } 
‘ sh ; \ Ll 
TS0I8g Vas, + ‘cepa 
: ‘a = 
On Severs: ib 
(z | ae ae oo 
Car sURIOIOS Ako Tks hag 
| sieving “ctepued, Sabie 
met «69SISVTHY 2G) eRe 
Ysa 
t Pt . thy . igi pulled MV 


eT a: i Povey 


traiq isreubat cero 
PLM INT tS 


tonics 


of) uesitiow asw site eh aoe tt 


Cs 
~ 
_ 
~ 
ad 
on 
Zt 
Ff 
oo) 
- 


bing doynsite Loniey and yeert oct lo sala’ 


Bt 93 gidsswew ft 1 aust eres: culduq ad 
ot eiaeesnené dnacawonn 


don bas 


foe ys ne oy hs  bovinale 


sei kes csi 
ory mitt bas 0 apis 3 
sna bea viguy Agee needy 
odbans ® ¥yetaee ‘ 
ob aka var vphalaent ale 


atta pa aeodt seleainks 
satis worn bow lected 

yap shyt Wiss OF 
byrshe souslidiong 
“rns He vba 
hak. see? eer 
-ssuienio Leites vie: 
fads Sere OF 


Ling sowie droll 
eici 3 sarote rtm 
* acl .owdt.ae 
ee SE eae dese) Log 

ae boys ee a BURECE ° 
es i eee re 
satuotle iin ote 
of fy eeaepaee 


wd sneTd ova 
havesienoo sel oni is 


e? 


hx son eh sor Saat 
cals os 2W oe 
sieisubivieh yllert ne 
& outed Lee Aeusas Sat 
lasdie al < if msi we: 

big ae Dae pyre 
10 soerl ¢ ‘ 
qilarsaeee 


POWER PLANT 


4 
os 


ee 


DOUBLE-HOUSE, BAUHAUS 
Dessau Germany, By Walter Gropius 


STATE THEATRE JENA 
By Walter Gropius and Adolph Meyer, 


Germany 


x: 
wy | 
4 


tl 
wa 


di 
2 
al 
2 
. 
*. 


' 
f ™ 
‘ 
* 
” 
4 
a 
me 


‘ign 


% 


ae ; 
ie. 


‘ 
7 


one 


wats 


BERLIN CENTRAL A!RPORT AT NIGHT 
Photograph Courtesy German Railroads 


ae ge ET TTT ke TTT: HE ttt ys isa ety 
RFT PRATER CET a IS LO FTE TORR ow | aa 


‘ 
iH 
@ 
i 
" 
Ad 


HATE 


CHILI-HOUSE, HAMBURG 


26 


GERMANY 


GERMANY 


Lis 
174-179 
180 
181 


186-209 
210-211 


ee 


to 


tm 
— 
ty2 


Municipal Gas-Works Berlin, Photograph. 
Industrial Architecture, Photographs. 
Modern Factory Building, Hanover. 


Photograph 4 motor—nine passznger plane 


‘Air Hansa.” 
Photograph, Berlin’s new West Harbor. 


Photograph, Three motor plane manned by 
two pilots. 


Photograph, The Bow of Chili House, 


Hamburg. 


Photograph, Giant Cooling Tower Berlin 
Generating Station. 


Photograph, New German Architecture. 
Photograph, Factory, Eric Mendelsohn. 


State Theatre Jena, Walter Gropius and 
Adolph Meyer. 


Model for a Garage for 1000 Automobiles. 


rte 


wr = os re epene 


TRE 


TA 
for a 


«2 


¢ 


ge 
- 
eon, 
ane 
‘ 
: ns 
— = 
da 
‘ad 
» ve 


ATELIER AT BAUHAUS 
Dessau Germany, By Walter Gropius 


MODEL FOR A GARAGE FOR 1000 AUTOMOBILES 
By The Brothers Luckhardt and Alfons Anker, Berlin 


PPPPPrrr 
Pebhrretherige iss: 
Ferrrrrrr 
Perr h rrr PPP PP a 


27 


, 


x 
= 


G2 


31 Porcelain Computing Cylinder Scale, which 
automatically indicates the weight and 
price of the article being weighed. 

332 Mahogany Fully Automatic Card Time 

Recorder, equipped with program de- 

vice to ring bells, sirens or other signal 

equipment. 


ALEXANDER ARCHIPENKO 


333 “The Glorification of Beauty” 
Bronze. 

334 “Flat Torso” Gilded Bronze. 

335 “Silhouette of a Woman” Bronze. 


Silver 


J. R. HERTER & CO. 


36 “Spring” (Printemps) Modern. 

37 Stained Glass Effect (Copy of Mediaeval 
design modern treatment). 

338 Flower Basket (La Vasque) Modern. 


JACQUES LIPSCHITZ 


339 Toreador. 
340 Woman. 
341 Musical Instrument. 


MAN RAY 
342 Chess. 


OSSIP ZADKINE 


343 Head of Young Man. 
344 Lady with Fan. 


28 


THE FAFNIR BEARING CO. 


345 


AMERICAN CAR & FOUNDRY 


346 


CHARLES DEMUTH 


347 
348 


THEO. VAN DOESBERG 


Double row, radical bearing, self-aligning 
type. 


Model of 47ft A. C. F. Cruiser. 


“Business”. 
“Brom the Window of the Chateau”. 


349 Card Players. 
350 Colour Construction. 
351-353 Time Space Constructions. 
LETT-HAINES 
354 Painting. 
PEVZNER 
355 Wall Decoration (Red). 
356 Wall Decoration (Cork). 
357 Construction in Relief. 
358 Head. 
359 Head. 
GABO 
360 Lighting Tower. 
361 Torso. 


ds 


ARCHITECTURE 


RAW SULPHUR STORE-ROOM, GERMAN INDUSTRIAL 
Photograph Courtesy German Railroa 


wee 
we 


wr 


q 

— , e : ; 

. i ay ee Fs ‘weit " lugie “ fants yeh 

+ i 7 

sid “a 38 i TILES RaW: 
ts at lo Ora 
@ 
, i 
| ‘ ro. 
a « . ,= 
‘ : i : Ss sen ) 


qaayony “g kg 
VLOALIHOYY WOG 


7 —e > ee ee a ae rere SRN a” ee ee eS es ee ee rn rs SRN eg 6 en ae ee ee 
. , ‘ . A ee j 


vusoLVIeEd Bloemea 


He MS Were 


OBVROD F UOMO! 


ad Avia F980 


. = 431) worrog : : 
dd a A 
| 

! 


2OTI BVOImjeny 
Cress -D ey Greasy 


eyuEKe 


QZTIIEGPOUSES YebzD 


WA VHA IA CA WanIzoOg 


BuUjVAZsenw QPyaZO 


eine 


AGS mt 


Ee 


jued Stonod | MO eugse Ose 


Hrd Woz. ‘ 
Caiduens eu) 
VINSLIHOUV WOO 

es VLHSLIHOYV WOO 

j LYAaHOV1'S 

- cs 

£S fo ’ > 

= a See eR ee nee iy ene eee eR. ae. a eee eee ee ee oe oe ee ee ee eT 


9 


—_—--— 


aera sis cecal 


" ary Pan oo 


ee a aS Se ee 
Ta ia it ie tP: : 
eave: id SER 
hE a Ae, “6 et: 
- 7 ? Ns : f D 4 ae i 


* 
: 


Pag 
aan 
% 


Vee GRty 


vee ez 
te 
weeny SR. 
To eqee 
"Ab Gh Ses 
a er a7 fi i. \ 
iy bm 4 "Tt ts eke i {ly Pi A, wa Po: itt _ 
7 ae ole “ay ‘ ¥ 
he’ i. a Og ~ Mn rs 
\ 
‘ 
F 
: 
t, ‘ 


Le Pe He Neds ‘ vel’ a 
fe allt atte ; “inhi gh oe 


ARCHITECTURE 
OPENS UP VOLUME 


F ALL the plastic arts architecture is the 
most closely bound to human life—life 
conceived not merely as a physiological 


function but also as a certain process of vital 
rhythm, as the composition of life. 


An architectural work blends with space. It 
might be said to recover the space which is out- 
side and to functionalize the space which is 
inside it. That is to say, it gives a well-defined 
purpose to each segment of space which enters 
into it. 

The functioning of space, entering into an 
architectural work acts as a scale. In every 
house, during the period of its destiny, daily life 
is played upon the notes of that scale. 


The construction of a modern building is 
based upon a new conception of space in archi 
tecture. 


The architect of the past ENCLOSED 
SPACE IN VOLUME. 


The historical steps in the conception of space 
in architecture may be indicated as follows: 


CLASSIC ARCHITECTURE 


placed volumes side by side or on top of each 
other—the lighter on the heavier. The prob- 
lems of form were solved by a juggling of pro- 
portions, which at that time expressed the whole 
notion of art. 


Result: the period of revolt, characterized by 
an aesthetic hypertrophy and the degeneration 
of ideas of proportion. 


Consequently modern art renounces classic 
art from the ground up and even refuses to 
try to modernize it. 


CUBISM 


made efforts to unite volumes by means of their 
reciprocal penetration. 


CONSTRUCTIVISM 


placed heavier volumes on top of the lighter. 
Problems of form were neglected in favor of 
problems of pure technique. 


Result: technical hypertrophy. 


30 


SUPREMATISM 


balanced the relationships between volumes. 


PURISM 


made compositions of the lines of walls, enclos- 
ing space. 


THE NEW LAWS OF 
ARCHITECTURE 


are based on a heroic composition of communr 
cating passages, and neither place volumes on 
top of each other nor side by side. THEY 
DESTROY VOLUME ONCE FOR ALL. 


Mcdern technical means will allow the archi- 
tect partly to move and partly to destroy the 
elements which make up volume; that is to say, 
to open volume out upon space. The interior, 
opened by this mobility, will blend with the 
rest of space and take on architectural values 
through the functioning of each section. 


THE CUBE WILL NO LONGER EXIST. 
Walls and openings will become a subordinate 
part of the building,—they will be movable. 
The only stable elements left will be the up- 
rights, about which all living necessities will 
be centralized. 


The new schools of plastic architecture make 
use of modern technical means, and the latter 
serve not only to construct but also to create 
the forms in which the courage of abstract cre- 
ation will henceforth actualize itself. 


It will thus be seen that the creative thought 
of the architect has left the path prepared for 
it by classic architecture; for that path was a 
blind alley. 


Having left this path, the architect found 
new conceptions rapidly succeeding each other, 
and each time of course the theory anticipated 
the technical possibilities of realization. 


Every day, however, is bringing us new tech- 
nical possibilities and new experiences. 


Cubism, purism and suprematism have al- 
ready become links in the long chain of archi- 
tectural creation, and OPEN VOLUME will 


soon be one more such link. 


Ss. SYRKUS 
Warsaw, 1926. 


aE iis 


¥ fisq Jat ol -enrgtidea sake See 


‘SATA TE 


Pwo Me@ed edideccitee: att beowsted 


eras 


, P a 7: > Blip 
\ ellaw Ye vari! od? io «netting sham 
x ae Res 
ers Bink» ae 
E> ALA) VEAP 
ae TPT TH A, 
: - a> . 
iO rea: MINI & Ma beowine 28 
new EG wilttien bak avesepee mess 
i $, vf ot ws) hie if- oa (po? 
‘ : VASE TEE® | AOS TAG 
swoile Ui etteoun jeoweebeed me aie 
t | 


nnd epijay Tt Steet Auer ease 


- P y \ Cea | Sit ti ) ff wis y 
4 i 
Thaw Lah | we Vinee: a 8 ae | iss Ott 
a“ fo 
z . ‘ . 
1 yim £ Mo OS SE A 
- ’ 


2% y. vy 4s VF i? 5 Li} aT 75 *y THY 


ie ean Gre ae 
ywl-— onli saa ho pian 


2 ; oh 
LV io arrears sete. view seh 
4 } i 
te) ESS a 5 52 oii rt A i: t fed ia 2B ‘A 


mesa ite at 


russohisie oMeals to chew geen aT 


f + . i 
UW Mog ised navbar oes. 


lay 


Iain oF FE ‘yt sree 


3 i teh . ul ee ae : 2 _ 
‘ BrP On Fe a At ts at oe 


ie 4 nhl nnd eds 7 . ‘ res 
Hee srtiicuide (Neiicicend ow ede 


Be a brie 


» ; Tee ; Ae pi ; 
J wht S SAT! «ae A be) at ‘ Sy 
f 1 ; “ 
; LIT Y tH ae oe ae Py oor FY) Va 


pris i a set Beans A rs Sere 


, ee ee ye a, ee Seay” 
Rute : Sot ROT! SHOOT seg 


wigaind o .orgard web ¢verll. 
swort hott aviadiiaior: Leste 


4d weursn@ue its aeie eee 
i of) mM anil somo Ybety 
iV VAG) Bice cecieeeae fas 
Heit face FISIN. Sk vd ewe 


Meee aks ald Yer arabia 


i ry. vane AE es 


" asuToati 
3MUIOV qué 


6 


nit re et seh 
stikengtt sauped os ai a . 
a wi a on yim 
Liss ht aegnang mucha. £4 


#. sokes si ahinsd th 
‘ete 0 sonla seacte sa 4 19 . 
ia feist te pie Ta wt . = 
hand shelve a xerty Sagal 
. reat taeda i hie ' a 


8 tar wire: wre + SAE, 
cae ct aloe = ee 
ial ish pynisesly eth Be 

 (Glem aedks 


*h geibled aust ‘ct = 
“Whe. as soieepe Tey i 


Cea si 


NOt 3h} ean sat 
mwolot am Lisg il 


phase \ oo) a4 
“pH i 28T re 


* 


eq io wig ey 


aicse fig been 


SAT cg 
Be eee 


yee 
wa Ae 


onceat 


= 


Me 


Varsaw 


i 


Syrkus, 


feld and § 


PROJECT FOR A CHURCH 


By H. Oder 


CONFECTIONER'’S SHOP 


cx Bruka!ski. Warsaw 


eed 


By Stanis 


cn 


Mi ‘ 
S 
i 
< 
te 
7 
: k 
oe i# 


SPE ..0N 


mtd ; 
4b je 


POLAND 


ST. BRUKALSKI 
214-220 Confectioner’s Shop. 


ST. AND B. BRUKALSKI 
221-223 Country Church. 


J. MALINOWSKI 


244 Interior of a Bed Room. 


{ 


W. STRZEMINSKI 
225 Cafe. 


=: - meee ee nee = ets ere eee 
rete ie Se 


S. SYRKUS, IN COLLABORATION WITH 


W. STRZEMINSKI 
226-228 Fur Shop. 


H. STAZEWSKI 
229 Office. 


H. ODERFELD, S. SYRKUS 
230-234 Plan of a Church. 


B. LACHERT, L. NIEMOJOWSKI, 


J. SZANAJCA 
235-238 Inexpensive Houses. 


Siac 


B. LACHERT, J. S7ANAJCA 
239 Villa a Gdynia. 


B. LACHERT 
240 Architect’s House. 


J. SZANAJCA 
241 Notary’s House. 


B. LACHERT, J. SZANAJCA 
242 Wooden Country House. 


B. LACHERT, J. SZANAJCA 
243 Houses En Serie. 


Plan of the School of Political Sciences at 
Warsaw. 


32 


ocieaeneinemmeatenti set ae EMEA : ss 
ve Soe dee si z - 4 
cB nm yas ee RE SRS URES ROT GERON CRORE PORE WTTD BESTT SUE EI Sakae AGH PRELD Eee ice 


t oo 
“ “ia ee SB 
ai 


Pe eT 


rh 


sa / # 


1s SR NS: NAS RN: 2 


US oe 
O21 om: en ee ee ee 


RUSSIAN INDUSTRIAL ARCHITECTURE 


Photograph Amtorg Trading Corp. 


rete loge 


eae - 


rene oe 


ee oe 


"G40 Surposy, Ssoqmy y¢vssoj0yg 
BSUNLOALIHOYV TIVINLSNGNI NVISSNY 


pee ore 


P= 


TWN HniqQHBsViitHaulaosSti 


; 
' 


t 


a 
» Se eee en 


ole 
—— 


33 


ge 
77 


“Uti 


t 
ee 
54 


pele 


jas een sett 


* 
* 


aw 


Peed eas doseges 


* nO i” oy ‘. 
e) hott A Snag a in oR aes 
=| SL TLE TORR ORIN © Se PETE 8 RT 


BGILERS 
Russian 


RUSSIA 


244-273 Work of the Society “OSA”. 


274-281 Work of the Association “ASNOVA”. 


282-288 Work of Mellnikoff. 
The Russian Section will arrive too late to cata- 
logue in detail. 


289 Boilers. 


290-294 Industrial Architecture Photographs loaned 
by Amtorg Trading Corp. 


Note—Russian Section except Industrial Photographs 
courtesy of The American Society for Cultural 
Relations with Russia. 


COSTUME FOR MECHANICAL THEATRE 
By Alexandra Exter, Russia 


ae 


4 


INDUSTRIAL ARCHITECTURE 
Russia 


LABOUR BUILDING, MOSCOW 
By Vesnin 


TORSO 
By Gabo 


GRAYBAR ELECTRIC CO. 


361 Electric Ironer. 
362 Hamilton Beech Electric Motor. 


TCHLIETCHEFF 
363-368 Machine—Age Costume Designs. 


HANS ARP 


369-372 Decorations. 


FRANKLIN SIMON & CO. 
373. Screens: Courtesy of Display Dept. 
JOHN STORRS 


374 Sculpture in Metal Design for Clock 
Tower. 


BARTLETT HAYWARD CO. 


375. Blue Print of Waterless Gas Holder. 
376 Photograph of Waterless Gas Holder. 


LOUIS LOZOWICK 


378 Lord and Taylor Centennial. 
a—Setting for Fashion Show. 
b—Window Display. 

379 Stage Setting for “Gas”. 

380 Machine Ornament (series). 

400 American Cities. 


4 


03 3 BOM? We 


— oo ~ ae 
7 ames 
4 
* i a re " ” 
GPU ta eae 
. wie oy mo |e oy, tu at 
» 
7 . 
T79 
‘ - n ey y ta 
) CRAWYAH TI3SATRR 
. — will omen i 


4 et te} 7. 8 at; 


rors ¢ eer ot ab) ba ae: a 


NOMWOLTO.! Pas 
cand shpat tapas ma halal 

LMMES Te wie, i bea beak. RTE 

ic foutesyd tal wane 
emit) wading AP ef 

r qo) qartied eae OP 
) soared cone (Ae 
aah) etsy . OR 


MACHINE-AGE 
EXPOSITION 


HE Machine-Age Exposition will show 

actual machines, parts, apparatuses, pho- 

tographs and drawings of machines, 
plants, constructions, etc., in juxtaposition with 
architecture, paintings, drawings, sculpture, 
constructions, and inventions by the most vital 
of the modern artists. 


There is a great new race of men in America: 
the Engineer. He has created a new mechanical 
world, he is segregated from men in other ac- 
tivities . . . it is inevitable and important to the 
civilization of today that he make a union with 
the architect and artist. This affiliation will 
benefit each in his own domain, it will end the 
immense waste in each domain and will become 
a new creative force. 


The snobbery, awe and false pride in the art- 
game, set up by the museums, dealers, and 
second-rate artists, have frightened the general 
public out of any frank appreciation of the 
plastic arts. In the past it was a contact with 
and an appreciation of the arts that helped the 
individual to function more harmoniously. 


Such an exaggerated extension of one of the 
functions . . . the extension of the mind as evi- 
denced in this invention of Machines, must be 
a mysterious and necessary part of our evolution, 
see in the Machine nothing but a menace or a 
utility. There are others who are alive; who 
have become impatient with the petrified copy- 
ing of the dead and dying; who are interested in 
things dynamic. 


WE ADDRESS OUR EXPOSITION 
to Tonk 


We will endeavor to show that there exists a 
parallel development and a balancing element in 
contemporary art. The men who hold first rank 
in the plastic arts today are the men who are 
Organizing and transforming the realities of our 
age into a dynamic beauty. They do not copy 
or imitate the Machine, they do not worship the 
Machine,—they recognize it as one of the real- 
‘ities. In fact it is the Engineer who has been 
forced, in his creation, to use most of the forms 
once used by the artist . . . the artist must now 
discover new forms for himself. It is this 


36 


GATE-VALVE 72” 
By Crane Co. 


““plasticmechanical analogy’’ which we wish to 
present. 


The artist and the engineer start out with the 
same necessity. No true artist ever starts to 
make “‘beauty”’. . . he has no aesthetic intention 
—he has a problem. No beauty has ever been 
achieved which was not reached through the 
necessity to deal with some particular problem. 
The artist works with definite plastic laws. He 
knows that his work will have lasting value only 
if he consciously creates forms which embody 
the constant and unvarying laws of the universe. 
The aim of the Engineer has been utility. He 
works with all the plastic elements, he has 
created a new plastic mystery, but he is practi- 
cally ignorant of all aesthetic laws. . . . The 
beauty which he created is accidental. 


Utility does not exclude the presence of 
beauty . . . on the contrary a machine is not 
entirely efficient without the element of beauty. 
Utility and efficiency must take into account 
the whole man. Let us take one of the simplest 
and most obvious examples . . . the motor car. 
Take the first cars .. . the lack of rhythmic bal- 
ance in their organization, their stupid, sterile, 


he. 


> 


oh gl MS af 


, 4 
oe oe 
ye 
4 *® 

¥ 
. 
€ 


——— 


veo thar ouiaeayll 
AUS UGQE aay 
nave Wp vgitierante 
re caf Rotate ad 
vusebios « pits 
Lite Saga Gee sh 


“ng v? 


>i “Ree: ar eon ee 
ot ab aA om ies ae 
St Ke SOHE?.© oe anny “i 2 
peered 5 ott. 

ds bes Hew 3 rhe 


Paro | OO ee 
YES Ae itl 


Fasey 


rf 


LP oe wats: aces 
Lawless sclt bsnaihee 
wit to. ARs 
fie toni *¢ eee wi 
oft beqled sit ares ‘ 
vlvncaea ie 


cptty ia rae m Lt 19%; 
readlows >i a t 
‘ws See, & 
Guha cw cihe 348 
ios botrag Ss 
byseeTsiih FS 


a Seca Phe) > ae 
‘ ‘ Pa uy pars 
Mile Fete Cee are 


mh oy see 
ie soitihen a 
yaan torr ob y 
welt QeeeTcAy donk a UE 
isot 3cJ a oe on aig 
od and ode nee 
ve sit ty lat mid OF 
wo kum hing sF..78 
vids. i 0k «| seen 


pe 


vertical lines frustrated all feeling of horizontal 
notion and velocity. Today the finest cars with 
heir rhythmic coordination of lines induce a 
sonsciousness of velocity and motion even 
greater than their actual speed in miles per hour. 


The experiment of an exposition bringing to- 
gether the plastic works of these two types of 
artist has in it the possibility of forecasting the 
life of tomorrow. All of the most energetic 
artists, both here and in Europe: painters, sculp- 
tors, poets, musicians, are enthusiastically organ- 
ized to support this exposition, the Engineers 
are giviny it their interested cooperation. 


—jh. 


J. R. HARBECK 
295-296 Radio Construction. 


SARCO COMPANY, INC. 
297-298 Temperature Regulators. 


U. S. DEPARTMENT OF COMMERCE 


Bureau of Standards. 
299 Telemeter, Carbon Resistor Type. 


YARNALL-WARING CO. 
300 Yarway Seatless Valve. 


PUBLIC SERVICE PRODUCTION CO., 
NEWARK 
301 Model Harrison Gas Works. 


BOSTON GEAR WORKS 
302 Exhibit of various types of gears. 


INTERNATIONAL HARVESTER CO. 


303 Electric Farm (Model). 

304 Toy models of implements. Vv 
305 Industrial Tractor. 

306 Plow. 


CRANE CO. 


307 Gate Valve. sd 
308 Stop-Check Valve. 
309 Oil Separator. 


CURTISS AEROPLANE CO. 


310 Model of Plane. 
311 Engine. 


NORMA-HOFFMANN BEARING CO. 


312 C-94 Norma Ball Bearing. 
313 RLS-27 Hoffmann Roller Bearing. 


W. F. HIRSCHMAN CO., INC., 
LE ROY, NEW YORK 
314 Effico Rotary Ball Bearing Ventilator. 


A. SCHRADER'S SON 
315 Diving Pump. 
316 Diving Dummy Mounted with complete 
equipment. 
317 Complete Telephone Outfit. 
318 Picture and Easle (View of S-51 Sub- 
marine). 
HYDE WINDLASS CO. 


319 Propeller. v 


INTERNATIONAL BUSINESS MACHINES 
320 Coffee Grinder. 
321 Meat Carver. 
322 Time Clock. 
STUDEBAKER CORP. OF AMERICA 
323 Crankshaft. 


EDISON LAMP WORKS OF GENERAL 
ELECTRIC 


Harrison, N. Y. 
324 Largest and smallest lamps made. 
325 Photograph of bulb-blowing machine. 


326 Ossiphone. 


JANES & KIRTLAND, INC. 


327 Steel Dresser. V 


SOCONY BURNER CORP. 
328 Arrow Oil Burner. 


INTERNATIONAL BUSINESS MACHI NES 
CORP. 


329 Double End Coffee Mill with adjustable 
burrs, equipped to pulverize and granu- 
late coffee at a high rate of speed. 

330 Meat Slicer, slices hot and cold meats to 
any desired thickness within a range of 
1/64 of an inch to Y4 inch. 


37 


' 3 SHAS” cel Tay 


melt Wombat oe 
sega 14é 


2 | OMIA ASS ARAMTIOH-AMAOM 7 


or ee 48 <A oe eee eR ae ees ine 
inal Gel soni sel of 


wis tolinA whamdeMd (41H fit 


IV. iO ee 2A .4 WwW 


——. - ee 
~ ~ i 


ROY wan fOr af 


ee ee te “om 
eT ad 


- een ; - ° 
’ oF STP Ts yaa =} ero. | ie H 2 


4O2 2 AICAAHSS A 


—@ 


SaAICMIW Foy 


teh ny nt oe 


WO _2O anrow ems! WOR 


\ 


as FF .W MOPAaATe 


pie pion bins nowker 


alt aeitakonot te 3 


tind 9 cles. 9, 


wa : 7 
io eaqyl ows aa 


Hing tet Som “i ae 
“ight; F96: jae 
“icon Peete ae 
ousgciige att 


! Sora 
Ull>- 


my 


[LITE 


an 


GYROSCOPE STABILIZER 
By E. E. Sperry 


THE POETRY OF 
FORCES 


BF Although we may come unacknowl- 
edged, as poor relations, still we turn to our 
fellow scientists, and salute them as furnishing 
us with tools and symbols for our work, for 
indeed we feel more related to them than to 
the brotherhood of poets who continue to build 
poems from materials with which we should 
blush to be guilty of concern. It is interesting 
to be shown by the scientists that the gases 
composing the air we breathe are electricity, as 
are likewise all the elements of the material 
universe. Penetrated, permeated, and in a 
sense created, as we are by this force, it follows 
that the human mind is no exception—it too is 
electricity. 


We find it not only natural and poetic to 
become practitioners of the poetry of forces, 
but inevitable. From this basis, or spring-board, 
we plunge mentally and boldly into the seeth- 
ing universe of electrons and vibrations, beyond 
which forces repose. Having reduced all the 
elements to their common denominator, elec- 
tricity, we move about more freely, in ethereal 
behavior. We have apparently reached the 
common substance out cf which diversity 
springs. But it is necessary to say something 
like this: if the common germ thinks like a 
plant, it will unfold a plant; if it thinks of itself 
as a fish, it will dirt forth a fish. This seems 
to hint the identity of subject and object: to 
turn perception in a direction where it no longer 
views the evoluticn of ages, but where it be- 
holds the instantaneous manifestation of forces. 


MARK TURBYFILL 


38 


MODERN GLASS 
CONSTRUCTION 


UPPLYING daylight to buildings is one 

of the most important problems of the 

architect. This problem becomes more 
complicated as the cities become more congested 
and buildings are closer to each other. So far, 
windows and, in the upper stories, skylights 
have been the only possible means of supplying 
daylight to the interior of buildings, as there was 
no practical way of constructing luminous walls 
which would preserve the necessary privacy, be 
poor conductors of heat and cold, need no up- 
keep and give the protection necessary for the 
average building. The problem has been simpli- 
fied by the fact that in modern building con- 
struction the outside walls usually do not have 
to carry any load in addition to their own 
weight, being simply curtain walls. The inside 
partitions are also only intended to divide the 
space into rooms, the entire weight of the build- 
ing being carried by steel columns and beams. 


The solution of this problem has now been 
accomplished by the use of glass units designed 
in a way that they would distort the light rays 
to such an extent that all transparency is elimi- 
nated. This has been obtained without the use 
of any milky or other admixture in the glass 
material which would decrease the transmission 
of light. The individual glass units are as- 
sembled with cement mortar to form tiles or 
blocks of a convenient size for masons to lay 
up in walls, each tile having a cement border to 
supply the necessary suction for the mortar used 
in laying up the tiles to set in the same length 
cf time it would take in the case of concrete tile, 
and at the same time emphasizing the structural 
nature of the work. 


Buildings constructed in this manner receive 
the greatest possible amount of light. Windows 
may be inserted in the walls wherever it is de 
sired to have a view of the outside. This con- 
struction presents to the eye the same solid ap- 
pearance as a brick wall while affording the same 
protection as to visibility of the interior from 
external observation. The interior of the wall 
forms a luminous surface shedding the greatest 
amount of light possible without the disadvan 
tage of large window surfaces which destroy 
privacy, admit too much heat and cold, and also 
are a scurce of continuous expense for upkeep. 


van 
? 
mony 
bi ay 
wy 
: 
f 
yw 
i) ‘ 
Thiet 
‘ tie 
4 
J 
bf. a 


OF ie ART its] 


ve wobehar. suit 


(@ Y 
5 
F Ces 
a 
. 4 
i 
: 
“Z 
‘ 
fy 
: 
Awe F 
{ : > 
ee 
. 
y i; 
e 
7 
4 
% er 
f 


” ¥ 
‘ft fa 
. 3 iA 
irs iG 4 Gil 
at AN 112 
3 ‘ies ie 
os | i ey 
‘ 4 ¥ S 
LILES 
RMIT TaS es): ; itl 
’ ; t 
MOG Sitti) oar oe 
PED PEs SSL, Gale RS 
‘ j Bk 
i) Veuy 8 ov ET Oe IP 
j a aa as 
1) ( these fomnaria 


w flaw soinvdur ke soenaeel 


utiary OF @h finntlonioag 
3 rourest ahs tov? iyit> 
& erred 
aici “ aot a MORO 
Oo ‘pet 
Aza OOF tendon eoavery 


won inooth syne. & ste 


spelled a pre + cs 


ages fetinsn yin ; 


| gee 


e 


3a | oe ee 
nines ac ask 
ave oe it 2 rr 
oll: me of fea 
tora ot ways olen § 
uinode sep foniw & 
ertenighn &i 2) 
* WE gat gurkt ese mS 
as Horioss sin SAR 
fectynaucee si fs 
S te bees hoe 


at OER) bg OREO 
| a ‘ 

a srg bers Vitae 
epyat te es. 
Aaeodegenrs:: 7 
dyson ot? aiah gibt a. 
en 46 30, ite 
ty Me beeches 


| — tees ab on 


leone. 4 ie . hoor oar) 
peib oe | 

Rory wht Pre a ome seania 
¢ wiht sted) “aa 

share Gt: he aged? i 

ace “AT ah wi 


NY fips CS 
te ark . P 


RAVENNA MOSAICS, INC. 
The Five Wise and the Five Foolish Virgins 
Design by Prof. £. Dulberg Weimar 


These glass tiles may also be used for inside 
partitions, allowing daylight to pass from one 
room to another and ye. at the same time assur 
ing to the occupants all tne advantages of com- 
plete enclosure. 


This principle of lighting up spaces by means 
of large luminous surfaces in preference to com- 
paratively small spots of light may be applied to 
artificial light as well as to daylight. Ornamental 
glass relief ceilings may be installed in rooms 
about eightecn inches below the plaster ceiling. 


SG 


w 


“a& 


LS Me 
‘ ( ( ¢ r 
Ge G« we a 


s ‘ 
~~ 
* 3 a . 
hes % 
Ss cod Pe) : 
io < » fe s e 
*DSity, ie 
Fs" ha Why 
eV ot ae 
é ir wi” 
% = 


fadadiar 


pu yy 


* 


! 
) 


><) 


km ee’ | 


. 8 a Soe a ae 
ce g 2 é 
Fy : ek 
% ES 
- : ; ee 
; = 
| a 
cf 
. a 
ae 
t 


Electric light bulbs may be installed in the space 
between the two ceilings in a manner to throw 
the light against the ceiling which, in turn, re- 
flects it from the relief glass to the room below. 
By the use of amber-colored glass the effect of 
warm sunshine may be achieved, lending a most 
pleasant atmosphere to the entire room. The 
treatment of the ceiling in relief prevents the 
light from being “spotty’’ and makes the entire 
effect harmonious. 


FREDERICK L. KEPPLER 


39 


-" 
ey 
/ 4 
an 
4 
a Ad 
- 
‘ 
F 
: nik 


AOIRG 


Ps sy . 
; 
4 

\ 
vedind siyd Singpelal 
Mi 3 “wiped 
iJ pal sila 
2 Yous aris i 1: tow 
ol er ley : val 
(Pa VR at LP SLE 
i quis dasa 
2 ofa to iim 
ye cri ady't 
Ruined tonils 


Bree fy “id Paay eer 
APREYD oy Soi ats 5 ia 


steed 307 be wiv ih 
DKs Gas? ) ey on 
“time, smi SA 9 


{8aS 7 af en ft 


Ya ‘ 


ot Lotkergs off yter 
letpsurt mua) aed 


OO ES y @ meas 
INARA RECLAIM 


SUT VLG LF 


Fe a JOHNS~ MANVILLE ft. 


BECK ENGRAVING 
PICTORIAL, REVIEW 
Y SCIENTIFIC ENGRAVING CO 
mS SPENCER- KELLOGG CO. 
“>, 47 ‘STARRETT & VAN VLEECK 
(7 fas ANDREW H. KELLOGG & CO, 
— CZ YALE UNIVERSITY 
= ZG Fos LER PRESS 


ATIONAL ANILINE CHEMICAL ae EO 
SYDENHAM HOSPITAL 


Nemes co STANDARD OIL COMPANY OF ‘\Y wy 


E.1.DU PONT oe ha en wan 
. \ MURPHY VARNISH COMPANY 
VALENTINE €& COMPAN 


‘ee 
c Y 
—) a SH EXCHANGE SS 
BEECH- NUT PACKING COMPANY O 
Co AMERICAN WOOLEN COMPANY “Oe 


<a 
v7 _ hos 


JOHN WANAMAK 
ALEXANDER SMITH CARPET CO. 
Pecan LEAD CO. aS 
MILLER RUBBER COMPANY 
ARBUCKLE & COMPANY | 
AMERICAN LITHOGRAPHIC CO. 
BOTANY WORSTED MILLS 
TERHUNE, YEREANCE & WOLFF 
KENT - COSTIKYAN 
H.A. SCHOENHALS, PHOTOGRAPHER 
NICKOLAS MURAY, PHOTOGRAPHER 
a ae 


= PRINT SERVICE BUREAU 


Zatcter Press 


, 
“ , ee ~ O° ome eo ie) 
O% me " . > a % 
— — en We “hy 4 
a ‘ : se , ee 3 
+ - i * f ’ 
: ‘ 
¥ e P 
> : 
7 2 © 
~<, by x ‘ , 


. ‘ Fay A 
a." » io me ' 
¥ n Wet acid - 
See 
—-s . 
P oem } 
‘ 1 Fe fe 
‘ 3 j ” fot ot 
ot & ” 
"ie: my 
“© # . & 
~ oe , yf 
- > lied a ff P 
* Pi 
v 1s ny y 
Ps 
. ‘t a a ; { rfc we Ag bil: 
, ‘ ‘>, - i F om) : ELITE. 
4 » 4 . + 3 é 
F ya RONG HD i oh mes 
oo — "2 ade of w TACHA Le 
o--s : ) + wee ee 
* Yr. a rf t bok! Oe é o 
. ; ; 7 i “ ‘ea 4 nid 7 : 
Meal 
j ins 
a 
\" ‘. " 
? 
, 2 
33 ¥ re / 
ced we ht 6 
y 
oad ie 
we, . a 
; Po 
, \< 
"4 hd S 


Vita Glass 


The new window glass that transmits 
the ultra-violet health rays of the sun 


ODAY, buildings are being de- 

signed especially to let in sunlight. 

And yet the sunlight that their 
windows admit has been robbed of all its 
health value. For ordinary window and 
plate glass do not transmit the vital ultra- 
violet rays of the sun—rays that promote 
health, help to prevent rickets in children, 
kill germs and increase mental and physical 
energy. Vita glass does transmit these 
rays. It is now possible therefore to bring 
outdoor health indoors. 


Vita glass is genuine glass, manufactured 
in two forms—clear and cathedral. Both 
glasses are supplied cut to specifications, 
ready for installation, each light bearing the 
trademarked label. Because of the im- 
portance of Vita glass to health, its installa- 
tion naturally increases re-sale values and 
makes houses, apartments and offices easier 
to rent. 


The value of Vita glass is attested by 
eminent authorities. We should be glad to 
furnish details. Vitaglass Corporation, 
50 East 42nd Street, New York City. 


BUILDERS Are 
Turning West to 


Dr. Charles V. Paterno is one of the first of New 
York’s greatest apartment builders to buy land in 
Bergen County. Others are bound to follow this 
great “Pioneer” Builder just as they followed him 
on Park Avenue, Riverside Drive and Washington 
Heights. I say you, Home-seekers, Builders, In- 
vestors, Speculators and Operators, you should 
make no mistake in following Dr. Paterno to Bergen 


BERGEN COUNTY 


County. Tides of population should turn west and 
flow over the Hudson River Bridge at a greater 
rate than they have flowed East to Queens. Think 
what it means to have an opportunity to buy at 
Auction a “Paterno” property in Bergen County. 
See this Paterno property for yourself. Study the 
future growth and make your plans to buy as many 
of these Paterno Bridge Zone lots as you can 
afford. 


Public Auction Sale 
565 PATERNO BRIDGE ZONE [ ots 


At Sylvan Avenue and on Newly Opened Van Nostrand 
Aye., Through to Jones Road, Opp. Englewood Golf Club 


BERGEN 
COUNTY 


ENGLEWOOD sensty 


Saturday, May 28th @ Decoration Day, Monday, May 30th 


oy On Installment 
80 /o Contract 


67 Liberty Street 
New York City 


Auctioneer 


Tel. Cortlandt 0744 


Balloon Leeates Lots 


Inc. 


2.30 o’clock, Under Tent, on Property 


Send for Bookmap 


HOW TO GO—To reach property via Fort Lee 
(125th Street) Ferry, to Palisade Avenue, right to 
Main Street, Fort Lee, left one block to Lemoine 
(Sylvan) Avenue, right to Van Nostrand Avenue 
to balloon on lots. Via Dyckman Street Ferry, up 
ferry approach to Palisade Avenue, straight two 
blocks to Sylvan (Lemoine Avenue, left to Van 
Nostrand Avenue to balloon on lots. 


—— 


oti antos a 


ae eal 


* 
ij £ 
: 7 ‘ule i ee 
r 
ad « 


4 4 


flood ta! hover] ra 


t " oe 
¢ OF TH 2VG%. 49 
onbuse.”; weaby ora tiay ta emily Ay Sb pied oe “| 
ui Vite ORL FOIS--“PeR? CMe Aglgemniie a dol 
. ATR | ae ben Le Wiel? dnd? Aegilaue 


re “ol ge Tete Sein ade 
es OI vi oetteee 
4 . ie 4 ii b 653 af) ‘ e" ‘ is id a i 2 
rie eye om nity Laid sgt > cola 
£ j Tee JOLIE EA LS, $403 : 
4 tena tit ee 
™ 7 ar feet tty 
; ag cz rte 7 Lee 
14s" F Preeat ih Gh sate: 3A 
; - - a a  aeeeeticeiecie tie te eee ee ee 
a Tae pee serra 
. ? o '® , a 
-| e : ik Tle 
t ll +, ‘ 
1 Jeqa uae 
rey ‘ = rat Tuned eel 
- ' { BOE apie gest 
base “4 tai gis: fi brs legis i) 
.. Meewwus mie G oat Qetesiize* sai, 
Raed #1 2 fat ‘ ose ee 
ay 4 > ie 7 2 Siwy my sowpgu Ss 
or) May seg eae | 
Q ; $ 0 A fej 
3 at: wh 2, 
i: . 
\ ip 5 aA <4 ¢ 
#7 5 aa ‘or TTA 7 
422 Anes) ete? KR oe 
Re My ious eae aot hig : EB) tiwe¥ 
‘OMNES MIS TE ESS ey nord bed Void | 4 “ane sein 


| HiOZ eal’ veubare Me ed 5 Caneel % fa4S re 
ot ue feet <r 3 “ Ao Evhanes seidia 


Twta tht tmPr bu 
} 
cH oot Pieter Aepi's CA 9 oe “re 
we , ge Le . oe @ a! Rabe 

+ nid so Fee oe 

Suma A ’ : . oav >I Veter) x oe eS Pius *% rc 
' ; hart. a tr) #@u, ca@atlad ay 

[- , __ o hy eerie baa Sion 
( j 2 Ld i. nz ‘ +s ‘rez 3 it 

iy Lb madd i oe wov A Hare a F. 


ntl 


smilies sii lapel ta aay ing al trims flee la al 


he : i e 
+ 
fy Bae ny awe 
7 & 
¥ ie i 
: — 
7 ' 
7 
. ad 
4" 
+ ig: 
i 
4 
; 
és 
» 


GETTY CENTER LIBRARY 


iv UNL 


ate a 


panbaii 


Rae 
aos 


a bree gto nea apaeet 
1 BN eoi Ribena =F BES ie Aen ok 
Sishn Soap d ne BNA te osname = [fe aed 


ae 


Bote ans be dn RDS py 


